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The Project Gutenberg EBook of La moza de cántaro, by Lope de Vega This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org

Title: La moza de cántaro Author: Lope de Vega Editor: Madison Stathers Release Date: October 26, 2007 [EBook #23206] Language: Spanish Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK LA MOZA DE CÁNTARO ***

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LA MOZA DE CÁNTARO POR LOPE DE VEGA _EDITED WITH INTRODUCTION AND NOTES_ BY MADISON STATHERS (_Docteur de l’Université de Grenoble_) _Professor of Romance Languages in West Virginia University_ COPYRIGHT, 1913, BY HENRY HOLT AND COMPANY

PREFACE

The vast number of the works of Lope de Vega renders the task of selecting one of them as an appropriate text for publication very difficult, and it is only after having examined a large number of the works of the great poet that the editor has chosen _La Moza de Cántaro_, not only because it is one of the author’s most interesting comedies,

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but also because it stands forth prominently in the field in which he is preëminent--the interpretation of Spanish life and character. It too is one of the few plays of the poet which have continued down to recent times in the favor of the Spanish theater-going public,--perhaps in the end the most trustworthy critic. Written in Lope’s more mature years, at the time of his greatest activity, and probably corrected or rewritten seven years later, this play contains few of the inaccuracies and obscure passages so common to many of his works, reveals to us much of interest in Spanish daily life and in a way reflects the condition of the Spanish capital during the reign of Philip IV, which certainly was one of the most brilliant in the history of the kingdom. The text has been taken completely, without any omissions or modifications, from the Hartzenbusch collection of _Comedias Escogidas de Lope de Vega_ published in the _Biblioteca de Autores Españoles_ and, where it varies from other texts with which it has been compared, the variation is noted. The accentuation has been changed freely to conform with present usage, translations have been suggested for passages of more than ordinary difficulty and full notes given on proper names and on passages that suggest historical or other connection. Literary comparisons have been made occasionally and modern forms or equivalents for archaic words and expressions have been given, but usually these have been limited to words not found in the better class of dictionaries commonly used in the study of such works. The editor is especially indebted to Sr. D. Eugenio Fernández for aid in the interpretation of several passages and in the correction of accentuation, to Professor J. D. M. Ford for valuable suggestions, and to Sr. D. Manuel Saavedra Martínez, Professor in the Escuela Normal de Salamanca, for information not easily accessible. M. S. WEST VIRGINIA UNIVERSITY.

INTRODUCTION I. LIFE OF LOPE DE VEGA

The family of Lope de Vega Carpio was one of high rank, if not noble, and had a manor house in the mountain regions of northwestern Spain. Of his parents we know nothing more than the scanty mention the poet has given them in his works. It would seem that they lived a while at least in Madrid, where the future prince of Spanish dramatists was born, November 25, 1562. Of his childhood and early youth we have no definite knowledge, but it appears that his parents died when he was very young and that he lived some time with his uncle, Don Miguel del Carpio. From his own utterances and those of his friend and biographer, Montalvan, we know that genius developed early with him and that he dictated verses to his schoolmates before he was able to write. In school he was particularly brilliant and showed remarkable aptitude in the study of Latin, rhetoric, and literature. These school days were interrupted once by a truant flight to the north of Spain, but at Astorga, near the ancestral estate of Vega, Lope, weary of the hardships of travel, turned back to Madrid. Soon after he left the Colegio de los Teatinos, at about the age of fourteen, Lope entered the service of Don Jerónimo Manrique, Bishop of Ávila, who took so great an interest in him that he sent him to the famous University of Alcalá de Henares, where he seems to have spent from his sixteenth to his twentieth year and on leaving to have received his bachelor’s degree. The next five years of his life are shrouded in considerable obscurity. It was formerly believed, as related by

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Montalvan, that he returned from the University of Alcalá to Madrid about 1582, was married and, after a duel with a nobleman, was obliged to flee to Valencia, where he remained until he enlisted in the Invincible Armada in 1588, but recent research[1] has proved the case to be quite otherwise. It would seem that, on leaving the University about 1582, he became Secretary to the Marqués de las Navas and that for four or five years he led in Madrid a dissolute life, writing verses and frequenting the society of actors and of other young degenerates like himself and enjoying the favor of a young woman, Elena Osorio, whom he addressed in numberless poems as "Filis" and whom he calls "Dorotea" in his dramatic romance of the same name. In the latter work he relates shamelessly and with evident respect for truth of detail many of his adventures of the period, which, as Ticknor says, "do him little credit as a young man of honor and a cavalier." [Note 1: Professor Hugo Albert Rennert, in his excellent and exhaustive work entitled _The Life of Lope de Vega_, from which many of the details of this Introduction are taken, quotes at length from Tomillo and Pérez Pastor’s _Datos Desconocidos_ the Spanish criminal records of the _Proceso de Lope de Vega por Libelos contra unos Cómicos_. In the course of the procedure much light is thrown upon this period of Lope’s life.] In the light of the recent information cited above, we know also that Lope’s career immediately after 1587 was quite different from what his contemporary Montalvan had led the world long to believe. In the _Proceso de Lope de Vega por libelos contra unos Cómicos_, it is shown that the poet, having broken with "Filis," circulated slanderous verses written against her father, Jerónimo Velázquez, and his family. The author was tried and sentenced to two years’ banishment from Castile and eight more from within five leagues of the city of Madrid. He began his exile in Valencia, but soon disobeyed the decree of banishment, which carried with it the penalty of death if broken, and entered Castile secretly to marry, early in 1588, Doña Isabel de Urbina, a young woman of good family in the capital. Accompanied by his young wife, he doubtless went on directly to Lisbon, where he left her and enlisted in the Invincible Armada, which sailed from that port, May 29, 1588. During the expedition, according to his own account, Lope fought bravely against the English and the Dutch, using, as he says, his poems written to "Filis" for gun-wads, and yet found time to write a work of eleven thousand verses entitled _la Hermosura de Angélica_. The disastrous expedition returned to Cadiz in December, and Lope made his way back to the city of his exile, Valencia, where he was joined by his wife. There they lived happily for some time, the poet gaining their livelihood by writing and selling plays, which up to that time he had written for his own amusement and given to the theatrical managers. Of the early literary efforts of Lope de Vega, such as have come down to us are evidently but a small part, but from them we know something of the breadth of his genius. In childhood even he wrote voluminously, and one of his plays, _El Verdadero Amante_, which we have of this early period, was written at the age of twelve, but was probably rewritten later in the author’s life. He wrote also many ballads, not a few of which have been preserved, and we know that, at the time of his banishment, he was perhaps the most popular poet of the day. The two years following the return of the Armada, Lope continued to live in Valencia, busied with his literary pursuits, but in 1590, after his two years of banishment from Castile had expired, he moved to Toledo and later to Alba de Tormes and entered the service of the Duke of Alba, grandson of the great soldier, in the capacity of secretary. For his employer he composed about this time the pastoral romance _Arcadia_, which was not published until 1598. The remaining years of his banishment, which was evidently remitted in 1595, were uneventful enough, but this last year brought to him a great sorrow in the death of his faithful wife. However, he seems to have consoled himself easily, for on his return to Madrid the following year we know of his entering upon a career of gallant adventures which were to last many years and

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which were scarcely interrupted by his second marriage in 1598 to Doña Juana de Guardo. Aside from his literary works the following twelve years of the life of Lope offer us but little of interest. The first few years of the period saw the appearance of _La Dragontea_, an epic poem on Sir Francis Drake, and _Isidro_, a long narrative poem on the life and achievements of San Isidro, patron of Madrid. These two works were followed in 1605 by his epic, _Jerusalén Conquistada_, an untrustworthy narration of the achievements of Richard Coeur-de-Lion and Alfonso VIII in the crusade at the close of the twelfth century. Lope left the service of the Duke of Alba on his return to Madrid, or about that time, and during the next decade held similar positions under the Marqués de Malpica and the Conde de Lemos, and during a large part of this period he led a more or less vagabond existence wherever the whims of his employers or his own gallant adventures led him. About 1605 he made the acquaintance of the Duque de Sessa, who shortly afterwards became his patron and so continued until the death of the poet about thirty years later. The correspondence of the two forms the best source for the biography of this part of Lope’s career. From 1605 until 1610 he lived in Toledo with his much neglected wife, of whom we have no mention since their marriage in 1598. But in 1610 they moved to Madrid, where Lope bought the little house in what is now the Calle de Cervantes, and in this house the great poet passed the last quarter of a century of his long and eventful life. The next few years following this return to the capital were made sorrowful to Lope by the sickness and death of both his wife and his beloved little son, Carlos Félix, in whom the father had founded the fondest hopes. Then it was that Lope, now past the fiftieth year of his age, sought refuge, like so many of his contemporaries and compatriots, in the protecting fold of the Church. Before the death of his wife he had given evidence of religious fervor by numerous short poems and in his sacred work, _los Pastores de Belén_, a long pastoral in prose and in verse relating the early history of the Holy Family. Whether Lope was influenced to take orders by motives of pure devotion or by reasons of interest has been a question of speculation for scholars ever since his time. From his works we can easily believe that both of these motives entered into it; in fact he says as much in his correspondence with the Duque de Sessa. Speaking of this phase of the poet’s life, Fitzmaurice-Kelly says: "It was an ill-advised move. Ticknor, indeed, speaks of a ’Lope, no longer at an age to be deluded by his passions’; but no such Lope is known to history. While a Familiar of the Inquisition the true Lope wrote love-letters for the loose-living Duque de Sessa, till at last his confessor threatened to deny him absolution. Nor is this all: his intrigue with Marta de Navares Santoyo, wife of Roque Hernández de Ayala, was notorious." But later, speaking of those who may study these darker pages of Lope’s career, he adds: "If they judge by the standards of Lope’s time, they will deal gently with a miracle of genius, unchaste but not licentious; like that old Dumas, who, in matters of gaiety, energy and strength, is his nearest modern compeer." We may say further that Lope, with no motive to deceive or shield himself, for he seems to have almost sought to give publicity to his licentiousness, was faithful in the discharge of his religious offices, evincing therein a fervor and devotion quite exemplary. Yet neither does his gallantry nor his devotion seem to have ever halted his pen for a moment in the years that succeeded his ordination. His dramatic composition of this period is quite abundant and other literary forms are not neglected. Two interesting incidents in the poet’s life are never omitted by his biographers. They are the beatification, in 1620, of San Isidro and his canonization, two years later, with their accompanying poet "jousts," at both of which Lope presided and assumed a leading rôle. Before this time he was known as a great author and worshiped by the element interested in the drama, but on both these occasions he had an opportunity to declaim his incomparable verses and those of the other contesting poets, revealing his majestic bearing and versatility to the great populace of Madrid, his native city. He was thereafter its literary lion, whose very

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appearance in the streets furnished an occasion for tumultuous demonstration of affection. The last decade of the life of Lope de Vega saw him seeking no rest or retirement behind the friendly walls of some monastic retreat, but rather was it the most active period of his literary career. Well may we say that he had no declining years, for he never knew rest or realized a decline of his mental faculties. He did not devote by any means all his time to his literary pursuits, but found time to attend faithfully to his religious duties and to the cares of his home, for he had gathered about him his children, Feliciana, Lope Félix and Antonia Clara, of whom the last two and Marcela, in a convent since 1621, were the gifted fruit of illicit loves. In 1627 he published his _Corona Trágica_, a long religious epic written on the history of the life and fate of Mary, Queen of Scots. This work won for him the degree of Doctor of Divinity, conferred with other evidences of favor by Pope Urban VIII. Three years later appeared Lope’s _Laurel de Apolo_, a poem of some seven thousand lines describing an imaginary festival given on Mount Helicon in April, 1628, by Apollo, at which he rewards the poets of merit. The work is devoted to the praise of about three hundred contemporary poets. In 1632 the poet published his prose romance, _Dorotea_, written in the form of drama, but not adapted to representation on the stage. It is a very interesting work drawn from the author’s youth and styled by him as "the posthumous child of my Muse, the most beloved of my long-protracted life."[2] It is most important for the light it sheds on the early years of his life, for it is largely autobiographical. Another volume, issued from the pen of Lope in 1634 under the title of _Rimas del licenciado Tomé de Burguillos_, contains the mock-heroic, _La Gatomaquia_, the highly humorous account of the love of two cats for a third. Fitzmaurice-Kelly describes this poem as, "a vigorous and brilliant travesty of the Italian epics, replenished with such gay wit as suffices to keep it sweet for all time." [Note 2: _Égloga á Claudio_, _Obras Sueltas_, Vol. IX, p. 367.] Broken in health and disappointed in some of his fondest dreams, the great poet was now rapidly approaching the end of his life. It is believed that domestic disappointments and sorrows hastened greatly his end. It would appear from some of his works that his son, Lope Félix, to whom he dedicated the last volume mentioned above, was lost at sea the same year, and that his favorite daughter, Antonia Clara, eloped with a gallant at the court of Philip IV. Four days before his death Lope composed his last work, _El Siglo de Oro_, and on August 27, 1635, after a brief serious illness, the prince of Spanish drama and one of the world’s greatest authors, Lope Félix de Vega Carpio breathed his last in the little home in the Calle de Francos, now the Calle de Cervantes. His funeral, with the possible exception of that of Victor Hugo, was the greatest ever accorded to any man of letters, for it was made the occasion of national mourning. The funeral procession on its way to the church of San Sebastian turned aside from its course so that the poet’s daughter, Marcela, might see from her cell window in the convent of the Descalzadas the remains of her great father on the way to their last resting-place.

II. THE EARLY SPANISH THEATER AND THE DRAMA OF LOPE DE VEGA The theater of the Golden Age of Spanish letters occupies a position unique in the history of the theaters of modern Europe, for it is practically free from foreign influence and is largely the product of the popular will. Like other modern theaters, however, the Spanish theater springs directly from the Church, having its origin in the early mysteries, in which the principal themes were incidents taken from the lives of the saints and other events recorded in the Old and the New Testament, and in the moralities, in which the personages were abstract qualities of vices and virtues. These somewhat somber themes in time failed to satisfy the popular will and gradually subjects of a more secular nature were introduced. This innovation in England and France

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was the signal for the disappearance of the sacred plays; but not so in Spain, where they were continued several centuries, under the title of _autos_, after they had disappeared in other parts of Europe. The beginnings of the Spanish secular theater were quite humble and most of them have been lost in the mists of time and indifference. The recognized founder of the modern Spanish theater appeared the same year Columbus discovered the New World. Agustín Rojas, the actor, in his _Viaje entretenido_, says of this glorious year: "In 1492, Ferdinand and Isabella saw fall the last stronghold of the Moors in the surrender of Granada, Columbus discovered America, and Juan del Encina founded the Spanish theater." Juan del Encina was a graduate of the University of Salamanca and lived at the time mentioned above in the household of the Duke of Alba at Alba de Tormes. It was here that, before select audiences, were first presented his early plays or _Églogas_. The plays of Encina, fourteen in number, were staged and constitute the modest beginnings of a movement that was to develop rapidly in the next two decades. A contemporary of Juan del Encina, Fernando de Rojas, published in 1498 his famous dramatized romance, _La Celestina_, which, while it was not suited for representation on the stage, was a work of great literary merit and had remarkable influence on the early drama. About the same time a disciple of Juan del Encina, Gil Vicente, founded the Portuguese theater and made notable contributions to Spanish letters, for he seems to have written with equal facility in the two idioms. Perhaps the greatest dramatic genius of the period, Bartolomé Torres Naharro, while he wrote in Spanish, passed the greater part of his life in Italy, where he published at Naples in 1517 an edition of his plays entitled _Propaladia_. He, first of Spanish authors, divided his plays into five acts, called _jornadas_, limited the number of personages, and created a plot worthy of the name. For almost half a century after the publication of the _Propaladia_ the Spanish theater advanced but little, for this was the period when Carlos Quinto ruled Spain and kept the national interest fixed on his military achievements, which were for the most part outside of the peninsula. But about 1560 there flourished in Spain probably the most important figure in the early history of the national drama. This was the Sevillian gold-beater, later actor and dramatic author, Lope de Rueda. The dramatic representations before this time were doubtless limited in a large measure to select audiences in castles and courts of noble residences; but Lope de Rueda had as his theater the public squares and market-places, and as his audience the great masses of the Spanish people, who now for the first time had a chance to dictate the trend which the national drama should take. In his rôle of manager and playwright Lope de Rueda showed no remarkable genius, but he began a movement which was to reach its culmination and perfection under the leadership of no less a personage than the great Lope himself. Between the two Lopes there lived and wrote a number of dramatic authors of diverse merit. Lope de Rueda’s work was continued by the Valencian bookseller, Juan de Timoneda, and by his fellow actors, Alonso de la Vega and Alonso de Cisneros. In this interim there took place a struggle between the popular and classic schools. The former was defended by such authors as Juan de la Cueva and Cristóbal de Virués, while the latter was espoused by Gerónimo Bermúdez and others. The immortal Cervantes wrote many plays in this period and claimed to favor the classic drama, but his dramatic works are not of sufficient importance to win for him a place in either party. Thus we find that in 1585 Spain had a divided drama, represented on the one side by the drama of reason and proportion fashioned after Greek and Roman models, and on the other a loosely joined, irregular, romantic drama of adventure and intrigue, such as was demanded by the Spanish temperament. Besides the defenders of these schools there was an infinite variety of lesser lights who wrote all sorts of plays from the grossest farces to the dullest Latin dramas. Before taking up the discussion of the works of the mighty genius who was to establish the popular drama, it is well to give a brief glance at the people who presented plays and the places in which they were given. As has been already observed, the dramas of Juan del Encina and his

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immediate successors were probably presented to limited audiences. It is not improbable that parts were often taken by amateurs rather than by members of regular troupes. However, at an early date there were many strolling players who are classed in the _Viaje entretenido_ in no less than eight professional grades: (1) The _bululú_, a solitary stroller who went from village to village reading simple pieces in public places and living from the scanty collections taken among the audience. (2) The _ñaque_, two players, who could perform _entremeses_ and play one or two musical instruments. (3) The _gangarilla_, group of three or four actors of whom one was a boy to play a woman’s part. They usually played a farce or some other short play. (4) The _cambaleo_ was composed of five men and a woman and remained several days in each village. (5) The _garnacha_ was a little larger than the _cambaleo_ and could represent four plays and several autos and _entremeses_. (6) The _bojiganga_ represented as many as six _comedias_ and a number of _autos_ and _entremeses_, had some approach at regular costumes, and traveled on horseback. (7) The _farándula_ was composed of from ten to fifteen players, was well equipped and traveled with some ease. (8) The _compañía_ was the most pretentious theatrical organization composed of thirty persons, capable of producing as many as fifty pieces and accustomed to travel with dignity due the profession. Of still greater simplicity were the theaters where these variously classified actors gave their plays. In the villages and towns they were simply the plaza or other open space in which the rude stage and paraphernalia were temporarily set up. Quoting from Cervantes, Ticknor says of the theater of Lope de Rueda: "The theater was composed of four benches, arranged in a square, with five or six boards laid across them, that were thus raised about four palms from the ground. The furniture of the theater was an old blanket drawn aside by two cords, making what they called the tiring-room, behind which were the musicians, who sang old ballads without a guitar." In the larger cities such simplicity cannot be expected in the later development of the theater, for there the interest and resources were greater. In this respect Madrid, the capital, may be considered as representative of the most advanced type. In that city the plays were given in _corrales_ or open spaces surrounded on all sides by houses except the side nearest the street. By the beginning of the seventeenth century these _corrales_ were reduced to two principal ones--the Corral de la Pacheca (on the site of the present Teatro Español) and the Corral de la Cruz, in the street of the same name. The windows of the houses surrounding these _corrales_, with the adjoining rooms, formed _aposentos_ which were rented to individuals and which were entered from the houses themselves. At the end farthest from the entrance of the _corral_ was the stage, which was raised above the level of the ground and covered by a roof. In front of the stage and around the walls were benches, those in the latter position rising in tiers. On the left hand and on a level with the ground was the _cazuela_ or women’s gallery. The ground to the rear of the benches in front of the stage was open and formed the "standing-room" of the theater. With the exception of the stage, a part of the benches and the _aposentos_, the whole was in the open air and unprotected from the weather. In such unpretentious places the masterpieces of Lope de Vega and of many of his successors were presented. With this environment in mind we shall proceed to a brief review of the dramatic works of el _Fénix de los ingenios_. Lope de Vega found the Spanish drama a mass of incongruities without form, preponderating influence, or type, he left it in every detail a well-organized, national drama, so perfect that, though his successors polished it, they added nothing to its form.[3] When or how he began this great work, it is not certain. He says in his works that he wrote plays as early as his eleventh year and conceived them even younger, and we have one of his plays, _El Verdadero Amante_, written, as has been mentioned, when he was twelve, but corrected and published many years later. Of all his plays written before his banishment, little is known but it is natural to suppose that they resembled in a measure the works of predecessors, for this period must be considered the apprenticeship of Lope. Though written for the author’s pleasure, they were evidently numerous, for Cervantes says that Lope de Vega "filled the world with

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his own _comedias_, happily and judiciously planned, and so many that they covered more than ten thousand sheets." That his merit was soon appreciated is evident from the fact that theatrical managers were anxious to have these early compositions and that during his banishment he supported himself and family in Valencia by selling plays and probably kept the best troupes of the land stocked with his works alone. Of the number of his works the figures are almost incredible. In _El Peregrino en su Patria_, published in 1604, he gives a list of his plays, which up to that time numbered two hundred and nineteen; in 1609 he says, in _El Arte Nuevo de hacer Comedias_, that the number was then four hundred and eighty-three; in prologues or prefaces of his works Lope tells us that he had written eight hundred plays in 1618, nine hundred in 1619 and one thousand and seventy in 1625. In the _Égloga á Claudio_, written in 1632, and in the concluding lines of _La Moza de Cántaro_, revised probably the same year, he says that he is the author of fifteen hundred comedias. In the _Fama Póstuma_, written after his death in 1635 by his friend Montalvan, it is stated that the number of dramatic works of Lope included eighteen hundred _comedias_ and four hundred _autos_. From the above figures it is evident that Lope composed at times on an average a hundred _comedias_ a year, and this after he had passed his fiftieth year! Yet still more astonishing is his own statement in regard to them: «Y más de ciento, en horas veinte y cuatro, Pasaron de las musas al teatro.»[4] And it is a matter of history that he composed his well-known _La Noche de San Juan_ for the favorite, Olivares, in three days. This, in addition to his other works, offers us a slight insight into the wonderful fertility of the man’s genius and gives reason to Cervantes and his contemporaries for calling him "el monstruo de la naturaleza" and "el Fénix de los ingenios." [Note 3: Lope was by no means unaware of his important influence on the Spanish theater. In his _Epístola á Don Antonio de Mendoza_ he evinces it in the following lines: Necesidad y yo partiendo á medias el estado de versos mercantiles, pusimos en estilo las Comedias. Yo las saqué de sus principios viles, engendrando en España más Poetas, que hay en los ayres átomos sutiles. _Obras Sueltas_, vol. I, p. 285. ] [Note 4: _Obras Sueltas_, Vol. IX, p. 368.] To his plays Lope de Vega has given the general name of _comedias_, which should not be confused with the word "comedies," for the two are not synonymous. They are divided into three acts or _jornadas_ of somewhat variable length and admit of numerous classifications. Broadly speaking, we may divide the _comedias_ into four groups: (1) _Comedias de capa y espada_, which Lope created and which include by far the greater number of his important works. In these plays the principal personages are nobles and the theme is usually questions of love and honor. (2) _Comedias heroicas_, which have royalty as the leading characters, are lofty or tragical in sentiment, and have historical or mythological foundation. (3) _Comedias de santos_, which represent some incident of biblical origin or some adventure in the lives of the saints. In them the author presents the graver themes of religion to the people in a popular and comprehensible manner, in which levity is often more prominent than gravity. (4) _Comedias de costumbres_, in which the chief personages are from the lower classes and of which the language is even lascivious and the subject treated with a liberty not encountered in other dramas of the author. To these various classes must be added

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the _Autos sacramentales_, which were written to be represented on occasions of religious festivals. Their theme is usually popular, even grotesque, and the representation took place in the streets. Lope de Vega took the Spanish drama as he found it, and from its better qualities he built the national drama. He knew the unities and ignored them in his works, preferring, as he says, to give the people what they wished, and he laid down precepts for composition, but even these he obeyed indifferently. Always clever, he interpreted the popular will and gratified it. He did not make the Spanish drama so much as he permitted it to be made in and through him, and by so doing he reconciled all classes to himself; he was as popular with the erudite as he was with the masses, for his plays have a variety, facility, and poetic beauty that won the favor of all. His works abound in the inaccuracies and obscurities that characterize hasty composition and hastier proof-reading, but these are forgotten in the clever intrigue which is the keynote of the Spanish drama, in the infinite variety of versification and in the constant and never flagging interest. For over fifty years Lope de Vega enriched the Spanish drama with the wonders of his genius, yet from _El Verdadero Amante_, certainly in its original form one of his earliest plays now in existence, to _Las Bizarrías de Belisa_, written the year before his death, we find a uniformity of vigor, resourcefulness and imagination that form a lasting monument to his versatility and powers of invention, and amply justify his titles of "Fénix de los ingenios" and "Monstruo de la naturaleza."

III. LA MOZA DE CÁNTARO This interesting _comedia_ was written in the last decade of the life of Lope de Vega, in the most fertile period of his genius. Hartzenbusch is authority for the statement that it was written towards the close of the year 1625 and revised in 1632.[5] It is evident that the closing lines of it were written in 1632, for the author says in the _Égloga á Claudio_ that he had completed that year fifteen hundred comedias. As evidence of its popularity, we have the following resumé and appreciation from the same critic in the _prólogo_ of his edition of _Comedias Escogidas de Lope de Vega_: «Iba cayendo el sol, y acercábase á la peripecia última, precursora del desenlace, una comedia que en un teatro de Madrid (ó _corral_, como solía entonces decirse) representaban cuatro galanes, dos damas, un barba, dos graciosos, dos graciosas y otros actores de clase inferior, ante una porción de espectadores, con sombrero calado, como quienes encima de sí no tenían otra techumbre que la del cielo. Ya la primera dama había hecho su postrera salida con el más rico traje de su vestuario: absorto su amante del señoril porte de aquella mujer, que, siendo una humilde criada, sabía, sin embargo, el pomposo guardainfante, como si en toda su vida no hubiese arrastrado otras faldas; ciego de pasión y atropellando los respetos debidos á su linaje, se había llegado á ella, y asiéndole fuera de sí la mano, le había ofrecido la suya. El galán segundo se había opuesto resueltamente á la irregular y precipitada boda; pero al oir que la supuesta Isabel tenía por verdadero nombre el ilustre de doña María Guzmán y Portocarrero, y era, aunque _moza de cántaro_ parienta del duque de Medina, su resistencia había desaparecido. Hecha pues una gran reverencia muda á la novia, se adelantó el actor á la orilla del tablado para dirigir esta breve alocución al público: Aquí Puso fin á esta comedia Quien, si perdiere este pleito, Apela á _Mil y Quinientas_. MIL Y QUINIENTAS ha escrito: Bien es que perdón merezca. [Note 5: I have not been able to verify on what foundation Hartzenbusch bases the statement that the play was written first in 1625. It is true that several historical events which took place about that year are alluded to in the work in a way to indicate that they were

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fresh in the mind of the author, but they do not offer conclusive proof. It does not appear in the twenty-five _Partes_ or collections of Lope’s dramas, and it is doubtful if it was published in any regular edition during the poet’s life. In a note, Act II, Scene III, Hartzenbusch mentions "la edición antigua de la comedia," but does not specify to what edition he refers. The play appears in _Comedias de Diferentes Autores_, Vol. XXXVII, Valencia, 1646, but it is not certain or even probable that this is the first time it was published.] De las gradas y barandillas, de las ventanas y desvanes, de todos los asientos, pero principalmente de los que llenaban el patio, hubo de salir entonces, entre ruidosas palmadas, un grito unánime de admiración, de entusiasmo y orgullo nacional justísimo. «¡Vítor, Lope!» clamaba aquella alborazada multitud una vez y otra; «¡Viva _el Fénix de los ingenios_! ¡Viva Lope de Vega!»[6] And in no less laudatory terms, Elías Zerolo says: "En ella,... agotó Lope todos los sentimientos resortes propios de su teatro... Esta comedia es una de las más perfectas de Lope, por lo que alcanzó en su tiempo un éxito ruidoso." In enumerating the plays of Lope which were still well known and represented in Spain in the nineteenth century, Gil de Zárate names _La Moza de Cántaro_ among the first,[7] and doubtless on this authority Ticknor speaks of it as one of the plays of Lope which "have continued to be favorites down to our own times."[8] [Note 6: The sun was setting and a _comedia_ was approaching its last phase, precursor of the denouement. It was presented in a theater of Madrid (or _corral_ as it was then called) by four gallants, two ladies, an old man, two _graciosos_, two _graciosas_, and other minor characters, before an audience with hats pulled down as those who had no other roof above them than that of heaven. Already the leading lady had made her last entry, decked in the richest costume of her wardrobe; her lover, absorbed by the noble bearing of that woman who, although a humble servant, knew, nevertheless, the pompous farthingale as if in all her life she had not worn any other style of skirt; blind with passion and trampling on the respect due his lineage, had approached her and, beside himself, seizing her hand, had offered her his. The second gallant had resolutely opposed the irregular and hasty match, but on hearing that the supposed Isabel bore as true name the illustrious one of Doña María Guzmán y Portocarrero and was, although a water-maid, a relative of the Duke of Medina, his resistance had vanished. Then with a sweeping and silent bow to the fiancée the actor approached the front of the stage to pronounce this brief address to the public: Aquí Puso fin á esta comedia Quien, si perdiere este pleito, Apela á _Mil y Quinientas_. MIL Y QUINIENTAS ha escrito: Bien es que perdón merezca. From the _gradas_ and _barandillas_, from the windows and _desvanes_, from all the seats, but especially from those which filled the _patio_, there must have gone forth then amid clamorous applause a unanimous shout of admiration, of enthusiasm, and very just national pride. "_¡Vítor, Lope!_" shrieked that tumultuous multitude time and again. "Long live _el Fénix de los ingenios_! Long live Lope de Vega!"] [Note 7: See _Comedias Escogidas_, Vol. I, p. xxviii, and Gassier, _Le Théâtre Espagnol_, p. 60.] [Note 8: Ticknor, _History of Spanish Literature_, Vol. II, p. 275.] The "Watermaid" belongs to the largest class of Lope’s plays--the class in which he excelled--_comedias de capa y espada_. Ticknor erroneously classes it as a comedy "founded on common life" or as styled by others _comedia de costumbres_, but it is probable he did so without making himself thoroughly familiar with the comedy in its full form. Zerolo is very emphatic in attributing it to the class of _comedias de capa y

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espada_, for he says: "Más que ninguna otra, reune esta obra las circunstancias que caracterizan á las _comedias de capa y espada_, como embozos, equívocos, etc." Were the leading character what her name implies--a humble servant--and were the other characters of her rank, the play might well be classed as a comedia de costumbres; but that it belongs to the larger class is established by the fact that the intrigue is complicated, the question of love and rank is prominent, and the characters are of the nobility.[9] Any opposing irregularities in language or action may be explained by the period represented, for the time is that of the early years of the reign of the young monarch, Philip IV, a brilliant though corrupt epoch of Spanish history well worthy of a moment’s notice. [Note 9: The Ticknor collection in the Boston Public Library contains two copies of the play; the one is entitled "La Moza de Cántaro, comedia en cinco actos por Lope Félix de Vega Carpio y refundida por Cándido María Trigueros, Valencia, 1803," and the other, _idem_, "con anotaciones, Londres" (probably about 1820). These are probably the only editions of the play with which Ticknor was familiar when he made his classification of it, for certainly he could not reconcile it with his definition of "comedies on common life," but he could easily accord it with his definition of "comedias de capa y espada." (See Ticknor’s _History of Spanish Literature_, Vol. II, pp. 243 and 275.) Quoting from Lista’s classification, Romualdo Alvarez Espino says: "_Comedias de costumbres_ in which are painted vices of certain persons who, since in that epoch they could not be represented to be of the nobility, were drawn from the dregs of the people. Perhaps his very object in these compositions drew Lope away from the culture and urbanity which distinguish him in others; but fortunately they are few. Let us mention as examples _El rufian Castrucho_, _La Moza de Cántaro_, _El sabio en su casa_, _La doncella Teodor_." (Romualdo Alvarez Espino, _Ensayo Histórico Crítico del Teatro Español_, p. 116. See also, Alfred Gassier, _Le Théâtre Espagnol_, p. 38.) In the broader sense of the term, _comedias de costumbres_ could easily include not only the _Moza de Cántaro_ but generally all _comedias de capa y espada_, for true comedy is the presentation of the customs of society in a diverting manner. However, the Spanish critics usually narrow the class to include only the dramas of Lope which deal with the lower strata of social life and make the error of classing the _Moza de Cántaro_ among them. This error may be explained by the fact that the critics, especially those cited above, have probably referred directly or indirectly to the _refundida_ edition of the play which makes prominent the part of the servants and minimizes the rôles of the masters.] Philip III died in 1621, leaving the vast realm which he had inherited from his father, the gloomy though mighty Philip II, to his son, a youth of sixteen years, who came to the throne under the title of Philip IV. If Philip III was ruled by Lerma and Uceda, Philip IV, in his turn, was completely under the domination of the unprincipled Olivares, and his accession initiated one of the most interesting and most corrupt reigns that Spain has ever known. Philip himself was weak and pleasure-loving, but has never been regarded as perverse, and Olivares was ambitious and longed to rule Spain as the great Cardinal was ruling France. To achieve this end he isolated the monarch from every possible rival and kept him occupied with all sorts of diversions. At an early age Philip had been married to Isabel de Bourbon, daughter of Henry IV of France, and she was an unconscious tool in the hands of Olivares, for she was as light and as fond of pleasures as the king. Trivial incidents in royal circles were sufficient excuse to provide the most lavish celebrations and expenditures, illy authorized by the depleted condition of the royal exchequer. The external conditions of the kingdom were momentarily favorable for such a period as that through which the country was passing, for Spain was at peace with all the world. The Netherlands and other continental possessions were placated by concessions or temporarily quieted by truces, and the American possessions were prosperous and contributed an enormous toll of wealth to the mother-country. Madrid, with all its unsightliness, was one of the most

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brilliant courts of Europe and attracted to itself the most gifted subjects of the realm. Encouraged by the king’s love of art and letters, the great painters like Velázquez and Ribera vied with each other in creating masterpieces for princely patrons, and great authors like Lope, Quevedo, and Calderón sharpened their wits to please a literary public. This cosmopolitan society furnished abundant food for observation and an inexhaustible supply of interesting personages for the dramatist. Since Lope de Vega had no classic rules to observe and was limited in his composition only by popular tastes, he could without offense take his characters from whatever class of society he wished so long as his choice was pleasing to the audience, which, it happens, was not easily offended. Like Shakespeare, he brings upon the stage illiterate servants to mix their rude speech and often questionable jests with the grave and lofty or poetic utterances of their noble or royal masters. His characters, too, were not limited to any fixed line of conduct, as long as honor was upheld. They could be creatures of passion or impulse who gave expression to the most violent or romantic sentiments, mingling laughter and tears with all the artlessness of children. Therefore we may expect the most divergent interests and the most complex combinations of aims and actions of which the popular reason is capable of conceiving. On the Spanish stage, woman had always had a secondary rôle, not only because she was not fully appreciated, but also because the rôle was usually taken by boys, for women were long prohibited from the stage. "Lope, the expert in gallantry, in manners, in observation, placed her in her true setting, as an ideal, as the mainspring of dramatic motive and of chivalrous conduct."[10] Doña María is a type of Spanish woman of which history furnishes numerous parallels. Her family name had suffered disgrace and her own father was crying out for an avenger; there was no one else to take up the task, she eagerly took it upon herself and punished her suitor with the death she thought he deserved. Then to escape arrest she fled in the guise of a servant girl, which was in fact a very natural one for her to assume, for even at the present time no high-born young Spanish woman would dare to travel unattended and undisguised through her native land; besides, to do so would have revealed her identity. Once located in the capital, she becomes an ideal Spanish servant girl, performing well the duties imposed upon her, gossiping with those of her assumed class, breaking the heads of those who sought to molest her, usually gay and loquacious, but, when offended, impudent and malicious. That she does things unbecoming of her true rank only shows how well she carries out her assumed rôle; that she was not offensive or contrary to Spanish tastes of the times is proved by the fact that, although she was a Guzmán and consequently a relative of the ruling favorite, Olivares, the play did not fall under royal censure. Her versatility and just claim to her high position are emphasized by the ease with which she assumes her own rank at the close of the play. [Note 10: Fitzmaurice-Kelly, _Spanish Literature_, p. 257.] Don Juan, the hero of the play, while he pales somewhat before the brilliant, protagonistic rôle of the heroine, represents on a lesser plane Lope’s conception of the true Spanish gallant, whom the poet often pictures under this name or that of "Fernando" and not infrequently lets his personality show through even to the extent of revealing interesting autobiographical details.[11] That Lope did not approve entirely of the higher social life of his time is brought out all through the play and revealed in the hero, for the contemporaries and friends of the latter considered him an _original_. But in him we find more nearly the common Spanish conception of chivalry and honor. [Note 11: In his _Dorotea_ the character Fernando is known to present an authentic biographical account of the author’s youth and early manhood, while others of his heroes, as Don Juan in _el Premio de bien hablar_, furnish unmistakable details.]

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Breathing his love in poetic musings, eating out his own heart in sleepless nights and in anxious waitings for his lady-love by the fountain in the Prado or at the _lavaderos_ along the banks of the Manzanares, refusing wealth and spurning position gained at the price of his love, preserving an unrivaled fidelity to his friend and kinsman, but finally consenting to sacrifice his love for the honor of his name and family, Don Juan is the embodiment of Spanish chivalry of all ages. That the poet makes him love one apparently on a lower social plane illustrates his power of discrimination and magnifies these virtues rather than diminishes them. Don Bernardo, of whom we see but little, recalls don Diègue of Corneille, to whom he is directly related, for Guillén de Castro is a worthy disciple of Lope de Vega and wrote many plays, including _las Mocedades del Cid_, in his manner, and Corneille’s indebtedness to the former is too well known to need explanation. More violent than Don Diègue, who is restrained by the decorum of the French classic theater, more tearful than Don Diego of _las Mocedades_, who, after a passionate soliloquy, rather coolly tests the valor of his sons, ending by biting the finger of "el Cid," Don Bernardo appears first upon the stage in tears and frequently, during the only scene in which he figures, gives way to his grief. The comparison of the three is interesting, for all three had suffered the same insult; but before we judge Don Bernardo too hastily, we should consider that both the other two are making their appeals to valiant men, while he is appealing to a woman, and not appealing for vengeance as they, but rather lamenting his hard lot. Don Diègue and Don Diego impress us by the gravity of their appeals, while Don Bernardo arouses our sympathy by his senility--old Spanish cavalier, decorated with the cross of Santiago, that he is! If we make Don Juan the impersonation of Lope’s idea of chivalry, we may well interpret el Conde and Doña Ana as representing his appreciation of his more sordid contemporaries; both are actuated by motives of interest and are not scrupulous enough to conceal it. The poet is far too discreet to hold either up to ridicule, yet he makes each suffer a keen rebuff. Both are given sufficient elements of good to dismiss them at the close with the partial realization of their desires. One character particularly local to Spanish literature is the _Indiano_. In general usage the term is applied to those who enter Spain, coming from the Latin-American countries, though properly it should include perhaps only natives of the West Indies. Since an early date, however, the term has been applied to Spaniards returning to the native land after having made a fortune in the Americas. In the early years of the seventeenth century, when the mines of Mexico and South America were pouring forth their untold millions, these _Indianos_ were especially numerous in the Spanish capital, and Lope de Vega, with his usual acute perception ready to seize upon any theme popular with the public, gave them a prominent place in his works. Sometimes they appear as scions of illustrious lineage, as Don Fernando and the father of Elena in _la Esclava de su Galán_, and again they figure as the object of the poet’s contempt, as the wealthy merchant, Don Bela, in _la Dorotea_. In the present instance the _Indiano_ is a bigoted, miserly fellow who seeks, at the least possible cost, position at the Spanish court and who employs doña María largely for motives of interest rather than through sympathy for her poverty-stricken condition. Later, at Madrid, he exhibits himself in a still more unfavorable light, and ends by driving her from his service, of which incident she gives a highly entertaining, though little edifying, narration. The last characters in the play who need occupy our attention are Martín and Pedro, the _graciosos_. This very Spanish personage dates, in idea, back to the servants of the _Celestina_ and to the _simple_ of Torres Naharro, but in the hands of Lope he is so developed and so omnipresent that he is justly accredited as a creation of the great "Fénix."[12] Martín, the clever but impudent servant, is the leading character in the secondary plot and the only one to whom prominence is given. He acts as a news-gatherer for his master and, while thus occupied, he falls in

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love with Leonor, who does not seem to prove for him a difficult conquest. With characteristic Spanish liberty he advises his masters freely and is generally heeded and mixes in everything his comments, which, while not always free from suggestiveness, are filled with a contagious levity. Pedro, the lackey suitor of doña María, known to him as Isabel, is the prototype of the modern "chulo" whose traits can be traced in his every word and action. Disappointed in his love-making, he loses none of his characteristics of braggadocio and willingly assumes the rôle of defender of Isabel although he himself has been maltreated by the bellicose "moza de cántaro." [Note 12: One can scarcely say that the character is purely Spanish in origin, for servants had long been given a prominent part in dramas. Without seeking further we may well recall the place they have in the works of both Plautus and Terence. The early Italian comedies inherit this character from the Latins, and it appears in most of the plays of Ariosto, Machiavelli, and Aretino. It is found in the early Spanish dramas, and the debt to Italy is unmistakable; for example, in _La Celestina_ the name of one of the leading servant characters--Parmeno--is the same as appears in the three plays of Terence: _Eunuchus_, _Adelphi_, and _Hecyra_. And in the hands of Rojas and Naharro the type is not markedly different from the Latin and Italian originals. It remained for Lope to perfect it and make it truly national.] Untrammeled by the unities or other dramatic conventionalities, Lope was able in this drama, as in his others, to permit the action to develop naturally and simply with the various vicissitudes attendant upon every-day life and yet to weave the intricate threads of intrigue into a complex maze perfect in detail. The leading character is introduced in the first scene, which is followed by the long exposition of attendant circumstances that could be as well narrated as produced upon the stage. Thus delay and harrowing detail are avoided. The introduction of the tragic element into the play early in the first act has a tendency to soften its effect, especially as it has little relation to the subsequent action. However, the mere introduction of it in the play would probably, in the early French theater, class the drama as a tragi-comedy. And Alexandre Hardy, the French playwright and contemporary of Lope de Vega, who borrowed largely from the latter both in method and detail, so styled many of his works. The scene, opening in historic Ronda in the midst of the places made famous by the mighty family of the Guzmáns, then moving north to an obscure town in the Sierra-Morena, little known to the cultured atmosphere in which the play was to be represented, and finally centering in the capital and developing under the very eye of the audience, as it were, just as so many tragedies and comedies, less important perhaps but no less interesting, unfold in daily life about us, gives the play a broader interest than it would have and doubtless contributed powerfully to its success. The introduction of the secondary plot, affording the excuse for the prominent place given to the _gracioso_, is a device which Lope, like his great English contemporary, often uses as in this case with good effect. The disguising of a lady of the highest nobility and making her play so well the part of the lowly water-maid furnish the key to the intrigue and would not detract from the play in the eyes of the contemporary, following upon the reign of the pastoral and according as it did with the tastes of the times.[13] [Note 13: Philip IV’s passion for the theater was so great that he himself, Martin Hume tells us, appeared in private theatricals upon the stage in roles that scarcely did credit to his lofty station. Of the young queen, Isabel de Bourbon, who may be considered as well representing contemporary tastes, the same author says: "Not only was she an ardent lover of the bullfight, but she would in the palace or public theaters countenance amusements which would now be considered coarse. Quarrels and fights between country wenches would be incited for her to witness unsuspected; nocturnal tumults would be provoked for her amusement in the gardens of Aranjuez or other palaces; and it is related that, when she was in one of the grated _aposentos_ of a public theater,

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snakes or noxious reptiles would be secretly let loose upon the floor or in the _cazuela_, to the confusion and alarm of the spectators, whilst the gay, red-cheeked young Queen would almost laugh herself into fits to see the stampede." Martin Hume, _The Court of Philip IV_, pp. 149 and 203.] Unlike Shakespeare, whose rare good fortune it was to establish a language as well as found a national drama, Lope de Vega took up a language which had been in use and which had served as a medium of literary expression many centuries before he was born, and with it established the Spanish drama. Here again Lope conformed to common usage. He knew of the elegant conceits of linguistic expression and used them sparingly in his plays, but usually his language was, like the ideas which he expressed, the speech of the public which he sought to please, not slighting the grandiloquent phraseology to which the Spanish language is so well adapted. We find a good example of these different elements in _La Moza de Cántaro_ in the three sonnets of Act II, Scene III, of which the first is in the sonorous, high-sounding, oratorical style, the second, in the elegant conceits so common in Italian literature of the period, and the third in the language of every-day life. Each is well suited to the occasion and to the rôle of the speaker. Seldom in any of his works, and never in _La Moza de Cántaro_, does Lope descend to dialect or to slang, but rather in the pure Castilian of his time, preferably in the Castilian of the masses, he composes his rhythmic verses. Like some mountain stream his measures flow, sometimes in idle prattle over pebbly beds, soon to change into the majestic cascade, then to the whirling rapids, only to tarry soon in the quiet pool to muse in long soliloquy, to rush on again, sullen, quarrelsome, vehemently protesting in hoarse and discordant murmurings, then to roll out into the bright sunshine and there to sing in lyric accents of love and beauty. So the style like the action never settles in dull monotony, which, be it ever so beautiful, ends by wearying the audience. The great master put diversion into every thought and filled the listener with rapture by the versatility and beauty of his inimitable style. One of the secrets of Lope’s influence over his contemporaries is to be found in his versification. Ticknor says that no meter of which the language was susceptible escaped him. And in his dramatic composition we find as much variety in this respect as in any other. In _el Arte nuevo de hacer Comedias_, he says: "The versification should be carefully accommodated to the subject treated. The _décimas_ are suited for complaints; the sonnet is fitting for those who are in expectation; the narrations require _romances_, although they shine most brilliantly in octaves; tercets are suitable for matters grave, and for love-scenes the _redondilla_ is the fitting measure."[14] These various rimes, except the tercet, are found in _La Moza de Cántaro_, but in this rule, as in others which he prescribes, Lope does not follow his own precepts. The _redondilla_ is far more common than any other, though the _romance_ is frequently used. Most of the plays of Lope contain sonnets, and they vary in number from one to five or even seven: in the present instance we have the medium of three. The _décima_ is used in four passages and the _octava_ in two.[15] The widely varied scheme of versification is as follows:

ACT I 1-176 Redondillas 177-260 Romances. 261-296 Redondillas. 297-372 Romances. 373-704 Redondillas. 705-744 Décimas. 745-824 Redondillas. 825-914 Romances. [Note 14: _Obras Sueltas_, Vol. IV, p. 415.]

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[Note 15: While this is not the place to treat in detail with Spanish versification, it may be well to define briefly the forms used in the play which are not met with in English. The _redondilla_ is composed of four verses of seven or eight syllables each, the first verse riming with the fourth and the second with the third. The _romance_ is composed of any number of seven or eight syllable verses, in the even numbers of which there is a correspondence of vowel sounds in the last two syllables, which is called _assonance_. The _décima_ consists of ten octosyllabic verses, of which generally the first rimes with the fourth and fifth, the second with the third, the sixth with the seventh and tenth, and the eighth with the ninth. The _octava_ has eight hendecasyllabic verses of which the first rimes with the third and fifth, the second with the fourth and sixth, and the seventh with the eighth.]

ACT II 915-1062 Redondillas. 1063-1076 Soneto. 1077-1088 Redondillas. 1089-1102 Soneto. 1103-1106 Redondilla. 1107-1120 Soneto. 1121-1236 Redondillas. 1237-1280 Décimas. 1281-1452 Romances. 1453-1668 Redondillas. 1669-1788 Romances. 1789-1836 Redondillas.

ACT III 1837-1896 1897-1984 1985-2052 2053-2112 2113-2226 2227-2374 2375-2422 2423-2478 2479-2558 2562-2693

Redondillas. Octavas. Redondillas. Décimas. Romances. Redondillas. Octavas. Redondillas. Décimas. Romances.

BIBLIOGRAPHY

_Biblioteca de Autores Españoles_ desde la formación del lenguaje hasta nuestros días, 71 vols., Madrid, 1849-1880. The references to this extensive work are usually made by means of the titles of the separate volumes. Particularly is this true of the references to the dramas of Lope de Vega, which, under the title of _Comedias Escogidas de Lope de Vega_, include volumes 24, 34, 41, 52 of the work. _Obras Escogidas de Frey Lope Félix de Vega Carpio_, con prólogo y notas por Elías Zerolo, Paris, 1886, Vol. III. _La Moza de Cántaro_, Comedia en cinco actos por Lope Félix de Vega Carpio y refundida por Don Cándido María Trigueros, Valencia, 1803. _La Moza de Cántaro_, Comedia en cinco actos por Lope Félix de Vega Carpio y refundida por Don Cándido María Trigueros, con anotaciones, Londres (about 1820).

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_Obras Sueltas de Lope de Vega_, colección de las obras sueltas, assi en prosa, como en verso, 21 vols., Madrid, 1776-1779. _Handbuch der Spanischen Litteratur_, von Ludwig Lemcke, 3 vols., Leipzig, 1855. _Diccionario Enciclopédico hispano-americano_ de literatura, ciencias y artes, 26 vols., Barcelona, 1887-1899. _Grand Dictionnaire Universel_, par Pierre Larousse, 17 vols., Paris. _Manual elemental de gramática histórica española_, por R. Menéndez Pidal, Madrid, 1905.

FITZMAURICE-KELLY, _A History of Spanish Literature_, New York and London, 1898. TICKNOR, _History of Spanish Literature_, 3 vols., 5th ed., Boston, 1882. ESPINO, _Ensayo histórico-crítico del Teatro español_, Cádiz, 1876. J. A. SYMONDS, _Renaissance in Italy_, 2 vols., New York, 1888. A. GASSIER, _Le Théâtre Espagnol_, Paris, 1898. H. A. RENNERT, _The Life of Lope de Vega_, Glasgow, 1904. HAVELOCK ELLIS, _The Soul of Spain_, Boston, 1909. MARTIN HUME, _The Court of Philip IV_, London, 1907. NOTE.--The last three works mentioned are especially recommended for collateral reading in the study of _La Moza de Cántaro_.

LA MOZA DE CÁNTARO

PERSONAS

EL CONDE DON JUAN DON DIEGO FULGENCIO

} } _galanes_ } }

DON BERNARDO, _viejo_ PEDRO } MARTÍN } _lacayos_ LORENZO} BERNAL } DOÑA MARÍA, _dama_ DOÑA ANA, _viuda_ LÜISA } LEONOR} _criadas_ JUANA }

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UN ALCAIDE UN INDIANO UN MESONERO UN MOZO DE MULAS MÚSICOS.--LACAYOS ACOMPAÑAMIENTO _La escena es en Ronda, en Adamuz y Madrid_

ACTO PRIMERO Sala en casa de don Bernardo, en Ronda.

ESCENA PRIMERA DOÑA MARÍA _y_ LÜISA, _con unos papeles_

LUISA Es cosa lo que ha pasado Para morirse de risa. DOÑA MARÍA ¿Tantos papeles, Lüisa, Esos Narcisos te han dado? LUISA ¿Lo que miras dificultas?

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DOÑA MARÍA ¡Bravo amor, brava fineza! LUISA No sé si te llame alteza Para darte estas consultas. DOÑA MARÍA Á señoría te inclina, Pues entre otras partes graves, Tengo deudo, como sabes, Con el duque de Medina.

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LUISA Es título la belleza Tan alto, que te podría Llamar muy bien señoría, Y aspirar, Señora, á alteza. DOÑA MARÍA ¡Lindamente me conoces!

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Dasme por la vanidad. LUISA No es lisonja la verdad, Ni las digo, así te goces. No hay en Ronda ni en Sevilla Dama como tú.

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DOÑA MARÍA Yo creo, Lüisa, tu buen deseo. LUISA Tu gusto me maravilla. Á ninguno quieres bien.

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DOÑA MARÍA Todos me parecen mal. LUISA Arrogancia natural Te obliga á tanto desdén.-Éste es de don Luis. DOÑA MARÍA Lo leo Sólo por cumplir contigo.

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LUISA Yo soy de su amor testigo. DOÑA MARÍA Y yo de que es necio y feo. (_Lee._) «Considerando conmigo á solas, señora doña María...» No leo. (_Rompe el papel._) LUISA ¿Por qué? DOÑA MARÍA ¿No ves Que comienza alguna historia, Ó que quiere en la memoria De la muerte hablar después? LUISA Éste es de don Pedro. DOÑA MARÍA Muestra. LUISA

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Yo te aseguro que es tal, Que no te parezca mal. DOÑA MARÍA ¡Bravos rasgos! ¡Pluma diestra!

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(_Lee._) «Con hermoso, si bien severo, no dulce, apacible sí rostro, señora mía, mentida vista me miró vuestro desdén, absorto de toda humanidad, rígido empero, y no con lo brillante solícito, que de candor celeste clarifica vuestra faz, la hebdómada pasada.» ¿Qué receta es ésta, di? (_Rómpele_.) Qué médico te la dió? LUISA Pues ¿no entiendes culto? DOÑA MARÍA ¿Yo? ¿Habla de aciértame aquí? LUISA Hazte boba, por tu vida. ¿Puede nadie ser discreto Sin que envuelva su conceto En invención tan lucida?

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DOÑA MARÍA ¿Ésta es lucida invención? Ahora bien, ¿hay más papel?

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LUISA El de don Diego, que en él Se cifra la discreción. DOÑA MARÍA (_Lee._) «Si yo fuera tan dichoso como vuestra merced hermosa, hecho estaba el partido.» ¿Qué es partido? No prosigo. (_Rómpele._) LUISA ¿Qué nada te ha de agradar? DOÑA MARÍA Pienso que quiere jugar Á la pelota conmigo. Lüisa, en resolución, Yo no tengo de querer Hombre humano.

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LUISA ¿Qué has de hacer, Si todos como éstos son?

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DOÑA MARÍA Estarme sola en mi casa. Venga de Flandes mi hermano, Pues siendo tan rico, en vano Penas inútiles pasa. Cásese, y déjeme á mí Mi padre; que yo no veo Dónde aplique mi deseo De cuantos andan aquí, Codiciosos de su hacienda; Que, si va á decir verdad, No quiere mi vanidad Que cosa indigna le ofenda. Nací con esta arrogancia. No me puedo sujetar, Si es sujetarse el casar.

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LUISA Hombres de mucha importancia Te pretenden. DOÑA MARÍA Ya te digo Que ninguno es para mí. LUISA Pues ¿has de vivir ansí? DOÑA MARÍA ¿Tan mal estaré conmigo? Joyas y galas ¿no son Los polos de las mujeres? Si á mí me sobran, ¿qué quieres?

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LUISA ¡Qué terrible condición! DOÑA MARÍA Necia estás. No he de casarme.

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LUISA Si tu padre ha dado el sí, ¿Qué piensas hacer de ti? DOÑA MARÍA ¿Puede mi padre obligarme Á casar sin voluntad? LUISA Ni tú tomarte licencia Para tanta inobediencia.

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DOÑA MARÍA La primera necedad Dicen que no es de temer, Sino las que van tras ella, Pretendiendo deshacella.

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LUISA Los padres obedecer Es mandamiento de Dios. DOÑA MARÍA ¿Ya llegas á predicarme? LUISA Nuño acaba de avisarme Que estaban juntos los dos...

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DOÑA MARÍA ¿Quién? LUISA Mi señor y don Diego. DOÑA MARÍA ¿Qué importa que hablando estén, Si no me parece bien, Y le desengaño luego? LUISA Y don Luis ¿no es muy galán?

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DOÑA MARÍA Tal salud tengas, Lüisa. Muchas se casan aprisa, Que á llorar despacio van. LUISA Ésa es dicha, y no elección; Que mirado y escogido Salió malo algún marido, Y otros sin ver, no lo son. Que si son por condiciones Los hombres buenos ó malos, Muchas que esperan regalos, Encuentran malas razones. Pero en don Pedro no creo Que haya más que desear.

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DOÑA MARÍA Sí hay, Lüisa... LUISA ¿Qué? DOÑA MARÍA No hallar Á mi lado hombre tan feo. LUISA Mil bienes me dicen dél,

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Y tú sola dél te ríes. DOÑA MARÍA Lüisa, no me porfíes; Que éste es don Pedro el Cruel. LUISA Tu desdén me maravilla.

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DOÑA MARÍA Pues ten por cierta verdad Que es rey de la necedad, Como el otro de Castilla. LUISA Don Diego está confiado; Joyas te ha hecho famosas.

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DOÑA MARÍA ¿Joyas? LUISA Y galas costosas; Hasta coche te ha comprado. DOÑA MARÍA Don Diego de noche y coche. LUISA ¡De noche un gran caballero! DOÑA MARÍA Mas ¡ay Dios! que no le quiero Para don Diego de noche. Otra le goce, Lüisa, No yo. ¡De noche visiones!

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LUISA Oigo unas tristes razones. DOÑA MARÍA Volvióse en llanto la risa. ¿No es éste mi padre? LUISA Él es.

ESCENA II DON BERNARDO, _de hábito de Santiago, con un lienzo en los ojos_.--DICHAS

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DON BERNARDO ¡Ay de mí! DOÑA MARÍA Señor, ¿qué es esto? Vos llorando y descompuesto, ¡Y yo no estoy á esos pies! ¿Qué tenéis, padre y señor, Mi solo y único bien?

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DON BERNARDO Vergüenza de que me ven Venir vivo y sin honor. DOÑA MARÍA ¿Cómo sin honor? DON BERNARDO No sé. Déjame, por Dios, María.

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DOÑA MARÍA Siendo vos vida en la mía, ¿Cómo dejaros podré? ¿Habéis acaso caído? Que los años muchos son. DON BERNARDO Cayó toda la opinión Y nobleza que he tenido. No es de los hombres llorar; Pero lloro un hijo mío Que está en Flandes, de quien fío Que me supiera vengar. Siendo hombre, llorar me agrada; Porque los viejos, María, Somos niños desde el día Que nos quitamos la espada.

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DOÑA MARÍA Sin color, y el alma en calma, Os oigo, padre y señor; Mas ¿qué mucho sin color, Si ya me tenéis sin alma? ¿Qué había de hacer mi hermano? ¿De quién os ha de vengar?

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DON BERNARDO Hija, ¿quiéresme dejar? DOÑA MARÍA Porfías, Señor, en vano. Antes de llorar se causa La excusa, pero no agora; Que siempre quiere el que llora Que le pregunten la causa. DON BERNARDO

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Wed Apr 05 03:15:38 2017 Don Diego me habló, María... Contigo casarse intenta... Respondíle que tu gusto Era la primer licencia, Y la segunda del Duque. Escribí, fué la respuesta No como yo la esperaba; Que darte dueño quisieran Estas canas, que me avisan De que ya mi fin se cerca. Puse la carta en el pecho, Lugar que es bien que le deba; Que llamarme deudo el Duque Fué de esta cruz encomienda. Vino á buscarme don Diego Á la Plaza (¡nunca fuera Esta mañana á la Plaza!), Y con humilde apariencia Me preguntó si tenía (Aunque con alguna pena) Carta de Sanlúcar. Yo Le respondí que tuviera Á dicha poder servirle: Breve y bastante respuesta. Dijo que el Duque sabía Su calidad y nobleza; Que le enseñase la carta, Ó que era mía la afrenta De la disculpa engañosa. Yo, por quitar la sospecha, Saqué la carta del pecho, Y turbado leyó en ella Estas razones, María.-Quien tal mostró, que tal tenga.-«Muy honrado caballero Es don Diego; pero sea El que ha de ser vuestro yerno Tal, que al hábito os suceda Como á vuestra noble casa.» Entonces don Diego, vuelta La color en nieve, dice, Y de ira y cólera tiembla: «Tan bueno soy como el Duque.» Yo con ira descompuesta Respondo: «Los escuderos, Aunque muy hidalgos sean, No hacen comparación Con los príncipes; que es necia. Desdecíos, ó le escribo Á don Alonso que venga Desde Flandes á mataros.» Aquí su mano soberbia... Pero prosigan mis ojos Lo que no puede la lengua. Déjame; que tantas veces Una afrenta se renueva, Cuantas el que la recibe Á el que la ignora la cuenta. Herrado traigo, María, El rostro con cinco letras, Esclavo soy de la infamia, Cautivo soy de la afrenta. El eco sonó en el alma; Que si es la cara la puerta, Han respondido los ojos,

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Viendo que llaman en ella. Alcé el báculo... Dijeron Que lo alcancé... no lo creas; Que mienten á el afrentado, Pensando que le consuelan. Prendióle allí la justicia, Y preso en la cárcel queda: ¡Pluguiera á Dios que la mano Desde hoy estuviera presa! ¡Ay, hijo del alma mía! ¡Ay, Alonso! ¡Si estuvieras En Ronda! Pero ¿qué digo? Mejor es que yo me pierda. Salid, lágrimas, salid... Mas no es posible que puedan Borrar afrentas del rostro, Porque son moldes de letras, Que aunque se aparta la mano, Quedan en al alma impresas. (_Vase._)

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ESCENA III DOÑA MARÍA, LÜISA

LUISA Fuése. DOÑA MARÍA Déjame de suerte Que no pude responder. LUISA Vé tras él; que puede ser Que intente darse la muerte, Viendo perdido su honor.

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DOÑA MARÍA Bien dices: seguirle quiero; Que no es menester acero Adonde sobra el valor. (_Vanse._)

ESCENA IV Cuarto en la cárcel de Ronda. DON DIEGO, FULGENCIO

FULGENCIO La razón es un espejo De consejos y de avisos. DON DIEGO En los casos improvisos ¿Quién puede tomar consejo?

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FULGENCIO Los años de don Bernardo Os ponen culpa, don Diego. DON DIEGO Confieso que estuve ciego.

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FULGENCIO Es don Alonso gallardo Y gran soldado. DON DIEGO Ya es hecho, Y yo me sabré guardar. FULGENCIO Un consejo os quiero dar Para asegurar el pecho.

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DON DIEGO ¿Cómo? FULGENCIO Que dejéis á España Luego que salgáis de aquí. DON DIEGO ¿Á España, Fulgencio? FULGENCIO Sí; Porque será loca hazaña Que á don Alonso esperéis; Que, fuera de la razón Que él tiene en esta ocasión, Pocos amigos tendréis. Toda Ronda os pone culpa.

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DON DIEGO Claro está, soy desdichado... Pues el haberme afrentado Era bastante disculpa.

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FULGENCIO Mostraros la carta fué Yerro de un hombre mayor. DON DIEGO En los lances del honor ¿Quién hay que seguro esté? FULGENCIO El tiempo suele curar Las cosas irremediables.

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ESCENA V EL ALCAIDE DE LA CÁRCEL, _con barba y bastón_.--DICHOS

ALCAIDE (_á don Diego_) Una mujer está aquí Que quiere hablaros. DON DIEGO Dejadme, Fulgencio, si sois servido.

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FULGENCIO Á veros vendré á la tarde. (_Vase_.) ALCAIDE Llegó á la puerta cubierta; Pedíle que se destape, Y dijo que no quería. Parecióme de buen talle Y cosa segura; en fin, Gustó de que la acompañe Á vuestro aposento.

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DON DIEGO Que entre La decid, y perdonadme; Que es persona principal, Si es quien pienso.

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ALCAIDE En casos tales Se muestra el amor. (_Vase._) (_Dentro._ Entrad.)

ESCENA VI DOÑA MARÍA, _cubierta con su manto_.--DON DIEGO.

DON DIEGO ¡Sola, mi señora, á hablarme, Y en parte tan desigual De vuestra persona y traje! DOÑA MARÍA Dan ocasión los sucesos Para desatinos tales. DON DIEGO

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Descubríos, por mi vida, Advirtiendo que no hay nadie Que aquí pueda conoceros.

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DOÑA MARÍA Yo soy. DON DIEGO Pues ¡vos en la cárcel! DOÑA MARÍA El amor que me debéis Desta manera me trae; Que agradecida del vuestro, Me fuerza á que me declare. Á pediros perdón vengo, Y á que no pase adelante Este rigor, pues el medio De hacer estas amistades Es el casarnos los dos; Que cuando á saber alcance Don Alonso que soy vuestra, No tendrá de qué quejarse. Con esto venganzas cesan, Que suelen en las ciudades Engendrar bandos, de quien Tan tristes sucesos nacen. Vos quedaréis con la honra Que es justo y que Ronda sabe, Satisfecho el señor Duque, Desenojado mi padre, Y yo con tan buen marido, Que pueda mi casa honrarse Y don Alonso mi hermano.

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DON DIEGO ¿Quién pudiera sino un ángel, Señora doña María, Hacer tan presto las paces? Vuestro gran entendimiento, Y divino en esta parte, Ha dado el mejor remedio Que pudiera imaginarse. No le había más seguro, Y sobre seguro, fácil, Para que todos quedemos Honrados cuando me case. No será mucha licencia Que á el altar dichoso abrace, Sagrado de mis deseos, Donde está amor por imagen, Pues ya decís que sois mía.

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DOÑA MARÍA Quien supo determinarse Á ser vuestra, no habrá cosa Que á vuestro gusto dilate. Confirmaré lo que digo Con los brazos.--Muere, infame. (_Al abrazarle, saca una daga y dale con ella._)

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DON DIEGO ¡Jesus! ¡Muerto soy! ¡Traición! DOÑA MARÍA ¡En canas tan venerables Pusiste la mano, perro! Pues estas hazañas hacen Las mujeres varoniles. Yo salgo.--¡Cielo, ayudadme! (_Vase._)

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ESCENA VII Fulgencio.--Don Diego, _moribundo_

FULGENCIO Paréceme que he sentido Una voz, y que salió Esta mujer que aquí entró (Que no sin sospecha ha sido) Más turbada y descompuesta Que piden casos de amor.-No fué vano mi temor. ¡Don Diego!... ¿Qué sangre es ésta?

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DON DIEGO Matóme doña María, La hija de don Bernardo. FULGENCIO ¡Alcaide! ¡Gente! ¿Qué aguardo? (_Ap._ Mas cosa injusta sería Ocasionar su prisión. Esperar que salga quiero; Que esto ya es hecho.)

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DON DIEGO Yo muero Con razón, aunque á traición. Muy justa venganza ha sido, Por fiarme de mujer. Mas no la dejéis prender.

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FULGENCIO Yo pienso que habrá salido. Pero ¿por qué no queréis Que la prendan? DON DIEGO Ha vengado Las canas de un padre honrado. Esto en viéndole diréis... Y que yo soy, cuanto á mí, Su yerno, pues se casó Conmigo, aunque me mató Cuando los brazos la dí.

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Con esto vuelvo á su fama Lo que afrentarla pudiera. FULGENCIO Toda la cárcel se altera. Quiero buscar esta dama. (_Se lleva á don Diego._)

ESCENA VIII Una calle de Madrid. EL CONDE, DON JUAN

CONDE ¡Hermosa viuda, don Juan! No he visto cosa más bella.

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DON JUAN Con razón, Conde, por ella Esos desmayos os dan. CONDE ¿Hay tal gracia de monjil? Que es de azabache, repara, Imagen, menos la cara Y manos, que son marfil.

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DON JUAN Vos tenéis un gran sugeto Para versos. CONDE No he pensado Meterme en ese cuidado; Que pienso andar más discreto.

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DON JUAN ¿Cómo? CONDE Remitirme á el oro, Que es excelente poeta. DON JUAN Dicen que es rica y discreta: Guardadle más el decoro. CONDE ¿Fué vuestro criado allá? DON JUAN

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Con una criada habló, Y á estas horas pienso yo Que bien informado está. CONDE Mejor entre sus iguales Suele hablar más libremente Este género de gente.

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ESCENA IX MARTÍN.--DICHOS

DON JUAN ¿Qué hay, Martín? Contento sales. MARTÍN Servir á el Conde deseo. CONDE Yo estimo tu buen amor.

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MARTÍN Hablé con la tal Leonor, Como si fuera en mi empleo, Estando en larga oración La retórica lacaya, Y ella, á manera de maya, Serena toda facción. Díjela que me tenía Sin alma Leonor la bella; Que hacía un mes que la huella De sus chinelas seguía; Y que bailando en el río De la castañeta al son, Me entró por el corazón Y por toda el alma el brío. Cuando ya la tuve tierna, Pregunté la condición De su ama, y la razón De estado que la gobierna. Dijo que era principal, Con deudos de gran valor, Y que tenía su honor, Desde que enviudó, cabal. Que era rica y entendida, Y no de su casa escasa, Si bien no entraba en su casa Ni aun sombra de alma nacida. Que el parecer recatada Era todo su cuidado, Y díjome que había estado Sólo dos meses casada; Porque su noble marido, De enamorado, murió. CONDE No envidio la muerte yo,

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La causa sí. DON JUAN Necio ha sido, Pues tanto tiempo tenía.

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MARTÍN Poca edad y mucho amor, Toda la vida, Señor, Remiten á solo un día. CONDE ¿Cómo trae tan pequeñas Tocas? DON JUAN Más hermosa está.

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MARTÍN Porque las largas son ya Para beatas y dueñas. Y las cortas en la corte No se traen sin ocasión. CONDE ¿Qué ocasión dará razón Que para disculpa importe?

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MARTÍN Muriósele á una casada Su marido, y no quedó Muy triste, pues le envolvió, Como si fuera pescada, En un pedazo de anjeo; Y sin que cumpliese manda, Con largas tocas de Holanda Salió vertiendo poleo En un reverendo coche. Pero el muerto, mal contento, Del sepulcro á su aposento Se trasladó aquella noche, Y díjole: «¡Vos Holanda, Y yo anjeo, picarona! ¿No mereció mi persona Una sábana más blanda?» Esto diciendo, el difunto En las tocas se envolvió, Y el anjeo le dejó: Ocasión desde aquel punto Con que sin tocas las veo; Y cuerdo temor ha sido, Porque no vuelva el marido Á dejarlas el anjeo. CONDE Cuanto la licencia alargas, La obligación disimulas. MARTÍN

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Señor, en dueñas y en mulas Están bien las tocas largas. CONDE Mucha honestidad promete, Y es decoro justo y santo.

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MARTÍN Una viuda con un manto Es obispo con roquete. Fuera de esto, aquel estar Siempre en una misma acción No mueve la inclinación Que el traje suele obligar. Ver siempre de una manera Á una mujer es cansarse.

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CONDE Pues ¿puede el rostro mudarse?

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MARTÍN Pues ¿no se muda y altera, Mudando el traje, el semblante? DON JUAN Conde, Martín dice bien; Porque el varïar tan bien Da novedad á el amante.

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MARTÍN De mi condición advierte Que me pudren las pinturas, Porque siempre las figuras Están de una misma suerte. ¿Qué es ver levantar la espada En una tapicería Á un hombre, que en todo un día No ha dado una cuchillada? Qué es ver á Susana estar Entre dos viejos desnuda, Y que ninguno se muda Á defender ni á forzar? Linda cosa es la mudanza Del traje.

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CONDE La viuda, en fin, ¿Es conversable, Martín?

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MARTÍN No me quitó la esperanza, Si entráis con algún enredo; Que dice que da lugar Que la puedan visitar. CONDE Yo le buscaré, si puedo. DON JUAN

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Como visto no te hubiera, Fácil remedio se hallara. CONDE Si en que me ha visto repara, Fingirme enojarla fuera. Llama; que yo he prevenido Con que me pueda creer.

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DON JUAN No lo echemos á perder. CONDE No puedo estar más perdido. (_Vanse._)

ESCENA X _Sala en casa de doña Ana_.

EL CONDE, DON JUAN, MARTÍN; _y luego_, DOÑA ANA, _de viuda_; LEONOR _y_ JUANA

MARTÍN Ya te ha visto: á verte sale. No le has parecido mal.

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CONDE ¿Hay jazmín, rosa y cristal Que á la viudilla se iguale? (_Salen doña Ana, de viuda, Leonor y Juana._) DOÑA ANA Novedad me ha parecido; Vueseñoría perdone. CONDE No hay novedad que no abone El deseo que he tenido De serviros, si yo fuese, Para que no os cause enojos, Tan dichoso en vuestros ojos, Que serviros mereciese. DOÑA ANA Leonor, sillas. MARTÍN (_ap. á don Juan_) No va mal, Pues piden sillas. DON JUAN

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Martín, La viudilla es serafín De perlas y de coral. MARTÍN ¿Agrádate á ti también?

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DON JUAN Á esa pregunta responde Que está enamorado el Conde, Y yo no. MARTÍN Dices muy bien. DOÑA ANA ¿Quién es este caballero? CONDE Mi primo don Juan. DOÑA ANA Señor, Perdonad.

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DON JUAN No ha sido error. Hablad; que estorbar no quiero. DOÑA ANA Vos no podéis estorbar, Ni aquí tendréis ocasión. DON JUAN No lo mandéis. DOÑA ANA Es razón. DON JUAN No me tengo de sentar. DOÑA ANA Ahora bien, yo no porfío. DON JUAN Decísme que necio soy. CONDE Oidme. DOÑA ANA Oyéndoos estoy.

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DON JUAN Por lo mismo me desvío.

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CONDE Señora, aunque os he mirado Mil veces sin conoceros, Antes que viniera á veros Tuve de veros cuidado. Vuestro esposo, que Dios tiene, Era mi amigo: jugamos Una noche; comenzamos Por una rifa, que viene Á ser, como en los amores, La tercera que concierta, Ó á lo menos que dispierta El gusto á los jugadores. Perdió, picóse, sacó Unos escudos, y luego, Terciando mi primo el juego, Cuatro sortijas perdió. Mas vamos á lo que importa.

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DOÑA ANA Esas sortijas eché Menos: pesadumbre fué (Tan mal amor se reporta), Porque vine á sospechar Que á alguna dama las dió.

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DON JUAN (_ap. á Martín_) Bien la mentira salió. MARTÍN ¿Hay cosa como atinar Las sortijas que faltaron?

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DON JUAN Hay dichosos en mentir. MARTÍN Á cuantas supe decir, Con el hurto me pescaron. No he mentido sin que luego No se me echase de ver.

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CONDE Así se vino á encender Con esta pérdida el juego, Que perdió seis mil ducados Sobre palabra segura, De que tengo una escritura. DOÑA ANA Más enredos y cuidados Que días vivió conmigo Don Sebastián me dejó. ¿Seis mil ducados?

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CONDE Si yo Basto, que soy quien lo digo, Y los testigos presentes.

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MARTÍN Al firmarla estuve allí Tan presente como aquí. DON JUAN (_ap. á Martín_) ¡Con qué desvergüenza mientes! MARTÍN ¡Qué gracia! El buen mentidor Ha de ser, señor don Juan, Descarado á lo truhán, Y libre á lo historiador.

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DOÑA ANA Pensé que vueseñoría Me venía hacer merced.

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CONDE Que os he de servir creed; Que ésa fué la intención mía. No os dé pena la escritura, Puesto que fué de mayor; Que no tiene mal fiador La paga en vuestra hermosura.

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MARTÍN (_ap. á don Juan_) ¿Hay oficial de escritorios Que encaje el marfil ansí? DON JUAN En amando, para mí Son los engaños notorios.

640

MARTÍN ¿Amor se funda en engaños? DON JUAN Primero que el amor fueron; Pues desde que ellos nacieron, El mundo cuenta sus daños. CONDE Si yo, Señora, creyera Cobrar la deuda de vos, Sin conocernos los dos, Por otro estilo pudiera. No vengo sino á ofreceros Cuanto tengo y cuanto soy, Con que pagado me voy, Y aun deudor de solo veros. Sólo os suplico me deis Licencia de visitaros,

645

650

Wed Apr 05 03:15:38 2017

39

Si fuere parte á obligaros Confesar que me debéis, No dineros, sino amor.

655

DOÑA ANA Yo quedo tan obligada, Como deudora y pagada De vuestro heroico valor.

660

CONDE Bésoos las manos. DOÑA ANA El cielo Os guarde. CONDE ¿Vendré? DOÑA ANA Venid. (_Vase el Conde._)

ESCENA XI DOÑA ANA, DON JUAN, LEONOR, JUANA, MARTÍN

DOÑA ANA ¡Ah, señor don Juan! Oid. MARTÍN (_ap._) Cayó el pez en el anzuelo. DON JUAN ¿En qué os sirvo? DOÑA ANA Bien sé yo Que todo aquesto es mentira.

665

DON JUAN Y yo sé que el Conde os mira; Esto de la deuda no. DOÑA ANA ¡Mala entrada de galán, Entrar mintiendo! DON JUAN Señora, Mi primo el Conde os adora.

670

Wed Apr 05 03:15:38 2017

40

DOÑA ANA Id con Dios, señor don Juan; Que yerra el Conde en traeros. DON JUAN ¿Desacredítole yo? DOÑA ANA Cuando el Conde me miró, Me dió ocasión de quereros.

675

DON JUAN Aunque deudos, nos preciamos Mucho más de ser amigos, Aunque envidias ni enemigos No quieren que lo seamos. Queredle bien; que merece, Señora, que lo queráis.

680

DOÑA ANA Lo que por él negociáis, Al Conde desfavorece. DON JUAN Voy; que en la carroza aguarda. Dad licencia que os visite, Y que yo lo solicite.

685

DOÑA ANA Si vuelve con vos, ya tarda. DON JUAN Tanto favor da á entender Que por él queréis honrarme.

690

DOÑA ANA Por vos quiero yo obligarme Para que me vuelva á ver. DON JUAN Todo se lo digo ansí. DOÑA ANA Yo os tengo por más discreto. DON JUAN ¿Volverá el Conde en efeto? DOÑA ANA No sin vos, y con vos sí. (_Vanse don Juan y Martín._)

695

Wed Apr 05 03:15:38 2017

41

ESCENA XII DOÑA ANA, LEONOR, JUANA

LEONOR Mucho le has favorecido, Para ser la vez primera. DOÑA ANA Cuando él me favoreciera, Mi favor lo hubiera sido; Mas no me quiso entender: Tomo la amistad del Conde.

700

JUANA Agora tibio responde. Aun no ha llegado á querer. DOÑA ANA (_para sí_) Necio pensamiento mío, Que en tal locura habéis dado, Volved atrás, afrentado De ver tan necio desvío. Yo, que de tantos me río, ¡Ruego, pretendo, provoco! Pensamiento, poco á poco, No diga el honor que pierdo Que sois con desdenes cuerdo, Ya que quisistes ser loco. Dieron los ojos en ver, Puesto que en lugar sagrado, Al hombre más recatado De mirar y de entender; Mas, ya que ha venido á ser Provocado á desafío, Responde tan necio y frío, Que me pide que á otro quiera: Mirad ¡quién tal os dijera, Triste pensamiento mío! En vano estoy descansando Con daros disculpa á vos; Mas tengámosla los dos, Vos amando y yo pensando; Porque de pensar amando Lo que puede resultar, Viene el alma á sospechar Lo que imaginó del ver; Porque no hubiera querer Si no hubiera imaginar. Que no queráis os advierto Hombre tan fino y helado, Que por lo helado me ha dado Tristes memorias del muerto. Pero si á cogerle acierto Con mirar y con rogar... Guárdese pues de llegar; Que, agraviada una mujer, Quiere hasta que ve querer, Por vengarse en olvidar. (_Vanse._)

705

710

715

720

725

730

735

740

Wed Apr 05 03:15:38 2017

42

ESCENA XIII Patio de un mesón de Adamuz. UN INDIANO, _y_ UN MOZO DE MULAS; _después_, UN MESONERO

INDIANO Pasaremos de Adamuz, Si este recado nos dan.

745

MOZO Por eso dice el refrán: «Adamuz, pueblo sin luz.» Mas mira que desde aquí Comienza Sierra-Morena.

750

INDIANO Tú las jornadas ordena; Eso no corre por mí. (_Sale el Mesonero._) MESONERO Bien venidos, caballeros. INDIANO Pues, huésped, ¿qué hay que comer? MESONERO Desde hoy á el amanecer Dos mozos, seis perdigueros Vienen con un perdigón, De que estoy desesperado.

755

INDIANO Para mí basta. MESONERO Ha llegado Á hurtaros la bendición Una mujer que le tiene.

760

INDIANO Y cuando yo le tuviera, Por ser mujer se le diera. ¿Viene sola? MESONERO Sola viene. INDIANO ¡Sola! ¿De qué calidad?

765

Wed Apr 05 03:15:38 2017

43

MESONERO Pobre, y de brío gallarda; Porque en un rocín de albarda (El término perdonad) Como un soldado venía. Ella propria se apeó, Le ató y de comer le dió Con despejo y bizarría. Volvíla á mirar y ví Que un arcabuz arrimaba.

770

INDIANO ¿Que es tan brava? MESONERO Aunque es tan brava, Os aseguro de mí Que más su cara temiera Que su arcabuz.

775

INDIANO ¿Habéis sido Galán? MESONERO Bien me han parecido. Ya pasó la primavera, Y estamos en el estío: Así los años se van.

780

INDIANO ¿Qué traje trae? MESONERO Un gabán Que cubre el traje, no el brío; Un sombrero razonable... Todo de poco valor; Al fin, parece, Señor, De buena suerte y afable, Menos aquel arcabuz.

785

INDIANO ¿Es ésta? MESONERO La misma es.

ESCENA XIV DOÑA MARÍA, _con sombrero, gabán y un arcabuz_.--DICHOS

DOÑA MARÍA (_ap._) Temerosa voy, después

790

Wed Apr 05 03:15:38 2017 Que he entrado por Adamuz, Por ser camino real, Á que nunca me atreví; Si bien desde que salí, Ha sido el ánimo igual Al peligro que he tenido. ¡Ay, padre, y cuánto dolor Me da el verte sin favor, Si no es que el Duque lo ha sido! Suelen faltar los amigos En la mejor ocasión; Mas ¡ay! que tus años son Los mayores enemigos. Los de mi hermano pudieran Suplir los tuyos, Señor, Aunque no para tu honor Más que mis manos hicieran. Yo cumplí su obligación; Mas defenderte no puedo, Por no acrecentar el miedo De mi muerte ó mi prisión. Al fin, bien está lo hecho. ¿De qué me lamento en vano? ¡Traidor don Diego! ¡Á un anciano Con una cruz en el pecho!... Así para quien se atreve Á las edades ancianas; Que es atreverse á unas canas Violar un templo de nieve. Pero la mano piadosa Del cielo quiere que espante Á un Holofernes gigante Una Judit valerosa.

44

795

800

805

810

815

820

INDIANO (_á doña María_) Como suelen los caminos Dar licencia á los que pasan Para entretener las horas, Que por ellos son tan largas, Á preguntaros me atrevo Si lo ha de ser la jornada, Ó por ventura tenéis Cerca de aquí vuestra casa.

825

830

DOÑA MARÍA No soy, Señor, desta tierra. INDIANO Como os ví sola, pensaba Que érades de alguna aldea De aquesta fértil comarca.

835

DOÑA MARÍA No, Señor; que yo nací De esa parte de Granada, Y á servir en ella vine; Que cuando los padres faltan En tierna edad á los pobres, No tienen otra esperanza. No se cansó mi fortuna, Pues cuando contenta estaba Del buen dueño que tenía, Persona de órdenes sacras, Le llevó también la muerte,

840

845

Wed Apr 05 03:15:38 2017

45

Que para mayor mudanza Me dió ocasión, como veis. INDIANO Y ¿dónde vais? DOÑA MARÍA Siempre hablaba Esta persona que digo, Con notables alabanzas De la corte y de Madrid: Yo pues, á quien ya faltaba Dueño, con algún deseo Que de ver grandeza tanta Nació con mi condición, Determiné de dar traza De ir á servir á la corte. Y una vez determinada, Lo que viviendo tenía El buen cura (que Dios haya) Para su regalo y gusto, Arcabuz, rocín de caza Y este gabán, tomé luego, Y voy con notables ansias De ver lo que alaban todos.

850

855

860

865

MOZO El camino de Granada No es éste. DOÑA MARÍA Decís muy bien; Mas vine por ver si estaba En Córdoba un deudo mío.

870

INDIANO ¡Determinación extraña De una mujer! DOÑA MARÍA Soy mujer. INDIANO Decís muy bien, eso basta. Yo voy también á Madrid: Traigo jornada más larga, Porque vengo de las Indias; Que pocas veces descansa El ánimo de los hombres Aunque sobre el oro y plata. Y si allá habéis de servir, Porque me dicen que tarda El premio á las pretensiones Que la ocupación dilata, Casa tengo de poner: Si en el camino os agrada Mi trato, servidme á mí. DOÑA MARÍA El cielo por vos me ampara.

875

880

885

Wed Apr 05 03:15:38 2017 Desde hoy soy criada vuestra, Y creed que soy criada Que os excusaré de muchas.

46 890

MOZO (_áp._) Convertirse quiere en ama. DOÑA MARÍA No habrá cosa que no sepa. MOZO Y yo salgo á la fianza; Que la buena habilidad Se le conoce en la cara.

895

INDIANO Hanme dicho que en la corte Hay ocasiones que gastan Inútilmente la hacienda, Y yo querría guardarla; Que cuesta mucho adquirirla.

900

DOÑA MARÍA La familia es excusada Donde hay tanta confusión, Pues no se repara en nada. Yo sola basto á serviros: No habrá cosa que no haga, De cuantas haciendas tiene El gobierno de una casa.

905

INDIANO Pues partamos en comiendo, Y fiad de mí la paga.

910

DOÑA MARÍA (_áp._) ¡Ay fortuna! ¿dónde llevas Una mujer desdichada? Pero no fueras fortuna, Á saber en lo que paras.

ACTO SEGUNDO Sala en casa de doña Ana.

ESCENA PRIMERA EL CONDE, DON JUAN

DON JUAN Compiten con sus virtudes Sus gracias y perfecciones.

915

Wed Apr 05 03:15:38 2017

47

CONDE ¿Que tantas persecuciones, Visitas, solicitudes, Celos, desvelos, requiebros, Tengan por premio su olvido, Hasta verme convertido, De Amadís, en Beltenebros? No he visto tales aceros.

920

DON JUAN Conde, no habéis de cansaros; Que el estado de estimaros Ya es principio de quereros.

925

CONDE Á los principios me estoy Á el cabo de tres semanas. ¿Adonde, esperanzas vanas, Con este imposible voy?

930

DON JUAN Todas son penas posibles, Pues que sin celos amáis. CONDE ¡Ay, ojos, celos me dais, Aunque celos invisibles! Quéjase de amor doña Ana, Y á mí no me tiene amor: Esto es celos en rigor.

935

DON JUAN ¿Por qué, si es sospecha vana? CONDE Es celos lo que imagino; Que no es celos lo que sé: Cosa que pienso que fué, Y que en mi daño adivino.

940

ESCENA II MARTÍN.--DICHOS

MARTÍN Por poco tuviera calma La nave de tu deseo. Entro, y á doña Ana veo, Venus de marfil con alma. ¿Cómo te podré pintar De la suerte que la ví? Cultas musas, dadme aquí Un ramo blanco de azahar De las huertas de Valencia Ó jardines de Sevilla. Comience una zapatilla

945

950

Wed Apr 05 03:15:38 2017 De la Vera de Plasencia, Porque entremos por la basa Á esta coluna de nieve, Agentado azul, pie breve, Que de tres puntos no pasa.

48 955

CONDE ¿Tres puntos? Necio, repara... MARTÍN Pues lo digo, yo lo sé: Puntos son que de aquel pie Los tomara por la cara.

960

DON JUAN ¿Cómo lo viste? MARTÍN Un manteo Esta licencia me dió, Donde cuanto supo obró La riqueza y el aseo. Pero pidió los chapines Porque mirarla me vió, Y entre las cintas metió Cinco pares de jazmines.

965

970

DON JUAN De escarpines presumí, Según anda el algodón. MARTÍN Ésos paragambas son; Que á cierta dama que ví Con cañafístolas tales, Que se pudiera, aunque bellas, Purgar su galán con ellas Por drogas medicinales, Pregunté si era importante Traer damas delicadas Las pantorrillas preñadas. Y con risueño semblante Me dijo: «No es gentileza; Pero cosa no ha de haber En una honrada mujer Que se note por flaqueza.»

975

980

985

CONDE ¡Linda disculpa! DON JUAN Extremada. MARTÍN La ropa de levantar, Con tanto fino alamar, Era una colcha bordada. Finalmente, no quería Salir, por no verte ansí;

990

Wed Apr 05 03:15:38 2017

49

Pero como yo la ví Que para ti se vestía, Por no estar siempre en el traje De trájico embajador, Porfié, y saldrá, Señor, Si la haces pleito homenaje De sola conversación, Como quedó concertado.

995

1000

CONDE ¡Qué ejercicio tan cansado Para mi loca afición! DON JUAN Música y versos quedaron Para esta noche de acuerdo. CONDE En tenerme por tan cuerdo Muchos locos la engañaron.

1005

ESCENA III DOÑA ANA, _en hábito galán_; JUANA, MÚSICOS.--DICHOS

DOÑA ANA No dirá vueseñoría Que no le fían el talle. CONDE Quien tan bien puede fialle, Agravio á los dos haría: Á vos por seguridad, Y á mí por justo deseo. ¡Gracias á amor, que en vos veo Señas de más amistad!

1010

DOÑA ANA Siéntese vueseñoría; Que no le quiero galán Esta noche, que nos dan La música y la poesía Los sugetos que han de hacer Un rato conversación.

1015

1020

CONDE Dice mi imaginación Que no quiere más de ver. DOÑA ANA Señor don Juan, ¿no os sentáis?-¡Qué esquivo primo tenéis! (_Al Conde._) DON JUAN La culpa que me ponéis,

1025

Wed Apr 05 03:15:38 2017

50

Para disculpa me dais; Pero quiero obedeceros. CONDE Canten, y hablemos yo y vos. DOÑA ANA Y los tres, porque los dos No parezcamos groseros.

1030

MÚSICOS. (_Cantan._) _¿De qué sirve, ojos serenos, Que no me miréis jamás? De que yo padezca más, Y no de que os quiera menos._ DOÑA ANA No me agrada que á los ojos Llamen serenos.

1035

CONDE ¿Por qué, Si el cielo, cuando se ve Libre de azules enojos, Se llama así? DOÑA ANA En una dama No apruebo vuestro argumento, Si es el alma el movimiento Que á cuantos los miran llama, Y si al cielo en su azul velo La serenidad cuadró, Á el sol y á la luna no, Que son los ojos del cielo; Porque éstos siempre se mueven.

1040

1045

CONDE Perdonad á la canción No ser de vuestra opinión: Tanto los versos se atreven.

1050

DON JUAN Díganse á varios sugetos, Como quedó concertado. DOÑA ANA Comience el Conde. CONDE He buscado En vuestro loor seis concetos. Oid. DOÑA ANA No por vida mía; Escritos me los daréis.

1055

Wed Apr 05 03:15:38 2017

51

CONDE No sea, pues no queréis. DOÑA ANA Emplead vuestra poesía Adonde más partes haya. CONDE Pues oid, si sois servida, Un soneto á la venida Del inglés á Cádiz.

1060

DOÑA ANA Vaya. CONDE Atrevióse el inglés, de engaño armado Porque al león de España vió en el nido, Las uñas en el ámbar, y vestido, En vez de pieles, del tusón dorado. Con débil caña, no con fresno herrado, Vió á Marte en forma de español Cupido, Volar y herir en el jinete, herido Del acicate en púrpura bañado.

1065

1070

Armó cien naves y emprendió la falda De España asir por las arenas solas Del mar, cuyo cristal ciñe esmeralda; Mas viendo en las colunas españolas La sombra del león, volvió la espalda, Sembrando las banderas por las olas.

1075

DON JUAN ¡Levantó la pluma el vuelo! DOÑA ANA ¡Gran soneto á toda ley! DON JUAN ¡Qué bien pinta á nuestro rey! DOÑA ANA Mejor le ha pintado el cielo. MARTÍN ¡Gran soneto! CONDE No le he dado, Porque no estoy dél contento.-Decid vos. DOÑA ANA

1080

Wed Apr 05 03:15:38 2017

52

¡Qué atrevimiento! Donde vos habéis hablado! DON JUAN Excusad tales excusas.

1085

DOÑA ANA ¿Mas qué os ha de causar risa? CONDE Hablad, divina poetisa. MARTÍN Silencio; que hablan las musas. DOÑA ANA Amaba Filis á quien no la amaba, Y á quien la amaba ingrata aborrecía; Hablaba á quien jamás la respondía, Sin responder jamás á quien la hablaba. Seguía á quien huyendo la dejaba, Dejaba á quien amando la seguía; Por quien la despreciaba se perdía, Y á el perdido por ella despreciaba.

1090

1095

Concierta, amor, si ya posible fuere, Desigualdad que tu poder infama: Muera quien vive, y vivirá quien muere. Da hielo á hielo, amor, y llama á llama, Porque pueda querer á quien la quiere Ó pueda aborrecer á quien desama.

1100

CONDE Vos os podéis alabar; Que nadie puede, Señora. DOÑA ANA Hablará don Juan agora.

1105

DON JUAN Dejádmele imaginar. Una moza de cántaro y del río, Más limpia que la plata que en él lleva, Recién herrada de chinela nueva, Honor del devantal, reina del brío;

1110

Con manos de marfil, con señorío, Que no hay tan gran Señor que se le atreva, Pues donde lava, dice amor que nieva, Es alma ilustre al pensamiento mío. Por estrella, por fe, por accidente, Viéndola henchir el cántaro, en despojos Rendí la vida á el brazo trasparente; Y, envidiosos del agua mis enojos, Dije: «¿Por qué la coges de la fuente,

1115

Wed Apr 05 03:15:38 2017

53

Si la tienes, más cerca, de mis ojos?»

1120

DOÑA ANA ¡Malos versos! DON JUAN No sé más. DOÑA ANA Un caballero discreto ¿Escribe á tan vil sugeto? No lo creyera jamás. CONDE Tiene doña Ana razón.

1125

DON JUAN Si hubiérades visto el brío Del nuevo sugeto mío, La hermosura y discreción, Dijérades que tenía Tanta razón de querer, Que no supe encarecer Lo menos que merecía.

1130

DOÑA ANA Si es disfrazar vuestra dama, Como suelen los poetas, Por tratar cosas secretas Sin ofensa de su fama, Está bien; pero si no, Bajo pensamiento ha sido.

1135

DON JUAN Ninguna cosa he fingido, Ni tengo la culpa yo; Porque no lejos de aquí Vive la hermosa Isabel, Por quien el amor cruel Hace estos lances en mí. Sirve á un indiano, que viene Á la corte á pretender. No sé qué puede querer Quien tanta riqueza tiene.

1140

1145

DOÑA ANA Á tal sugeto ¡tal fe! DON JUAN La que me ha muerto y rendido, Moza de cántaro ha sido, Moza de cántaro fué. En él este amor bebí, Todo me abrasó con él; Ella fué Sirena, y él El mar en que me perdí. Con él veneno me ha dado, Con él me mató.

1150

1155

Wed Apr 05 03:15:38 2017

54

DOÑA ANA Si fuera Martín quien eso dijera, Estuviera disculpado; Pero ¡un caballero, un hombre Como vos!...

1160

DON JUAN No es elección Amor; diferentes son Los efetos de su nombre. Es desde el cabello al pie Tan bizarra y aliñosa, Que no es tan limpia la rosa, Por más que al alba lo esté. Tiene un grave señorío En medio desta humildad, Que aumenta su honestidad Y no deshace su brío. Finalmente, yo no ví Dama que merezca amor Con más fe, con más rigor.

1165

1170

1175

DOÑA ANA Advertid que estoy yo aquí, Y toca en descortesía Tan necio encarecimiento. DON JUAN Yo he dicho mi pensamiento Sin pensar que os ofendía.

1180

CONDE No os levantéis. ¿Dónde vais? DOÑA ANA Corrida me voy. DON JUAN ¿Por qué? Sin ofensa vuestra hablé. DOÑA ANA Si cosas bajas amáis, No las igualéis conmigo. (_Vanse doña Ana y Juana._)

ESCENA IV EL CONDE, DON JUAN, MARTÍN; _después_, JUANA

CONDE ¡Por Dios, que tiene razón! MARTÍN

1185

Wed Apr 05 03:15:38 2017

55

Cesó la conversación. DON JUAN ¡Porque lo que siento digo! CONDE Decir que no visteis dama Como ella, ¿no ha sido error?

1190

DON JUAN ¿Error? (_Sale Juana._) JUANA Conde, mi señor, Entrad: mi señora os llama. CONDE (_á don Juan_) Ella me quiere decir Que no os traiga más conmigo. DON JUAN Si lo tiene por castigo, No apelo de no venir.

1195

(_Vanse el Conde y Juana._) Di á el Conde que á verla fuí, (_Á Martín._) Ésa que á doña Ana enfada. MARTÍN Tú ¿quieres lo que te agrada? DON JUAN Sí, Martín, mil veces sí.

1200

MARTÍN Pues quiérela si la quieres; Que tal vez agrada un prado Más que un jardín cultivado, Y al fin todas son mujeres. (_Vanse._)

ESCENA V Calle. DOÑA MARÍA, _en hábito humilde y devantal_; EL INDIANO, _siguiéndola_.

DOÑA MARÍA _Advierta vuestra merced Que si esto adelante pasa, No estoy un

1205

Wed Apr 05 03:15:38 2017

56

hora en su casa._ INDIANO (_Ap._ Pensamiento, detened El paso; que hay honra aquí.) Palabra, Isabel, te doy Que no seré desde hoy Importuno como fuí. Desprecia en fin tu belleza Y ese donaire apacible; Que ya sé que es imposible Mudar la naturaleza. (_Vase._)

1210

1215

ESCENA VI

DOÑA MARÍA Tiempos de mudanzas llenos, Y de firmezas jamás, Que ya de menos á más, Y ya vais de más á menos, ¿Cómo en tan breve distancia, Para tanto desconsuelo, Habéis humillado á el suelo Mi soberbia y arrogancia? El desprecio que tenía De cuantas cosas miraba, Las galas que desechaba, Los papeles que rompía; El no haber de quien pensase Que mi mano mereciese, Por servicios que me hiciese, Por años que me obligase; Toda aquella bizarría Que como sueño pasó, Á tanta humildad llegó, Que por mí decir podría: _Aprended, flores, de mí Lo que va de ayer á hoy; Que ayer maravilla fuí, Y hoy sombra mía aun no soy._ Flores, que á la blanca aurora Con tal belleza salís, Que soberbias competís Con el mismo sol que os dora, Toda la vida es un hora: Como vosotras me ví, Tan arrogante salí; Sucedió la noche al día: Mirad la desdicha mía, _Aprended, flores, de mí._ Maravilla solía ser De toda la Andalucía; Ó maravilla ó María, Ya no soy la que era ayer. Flores, no os deis á entender Que no seréis lo que soy, Pues hoy en estado estoy, Que si en ayer me contemplo, Conoceréis por mi ejemplo _Lo que va de ayer á hoy._ No desvanezca al clavel La púrpura, ni á el dorado

1220

1225

1230

1235

1240

1245

1250

1255

1260

Wed Apr 05 03:15:38 2017 La corona, ni al morado Lirio el hilo de oro en él; No te precies de cruel, Manutisa carmesí, Ni por el color turquí, Bárbara violeta, ignores Tu fin, contemplando, flores, _Que ayer maravilla fuí._ De esta loca bizarría Quedaréis desengañadas Cuando con manos heladas Os cierre la noche fría. Maravilla ser solía; Pero ya lástima doy; Que de extremo á extremo voy, Y desde ser á no ser, Pues sol me llamaba ayer, _Y hoy sombra mía aun no soy._

57

1265

1270

1275

1280

ESCENA VII DON JUAN.--DOÑA MARÍA

DON JUAN Dicha he tenido, por Dios.-Isabel, ¿adónde bueno? DOÑA MARÍA ¿Adónde bueno, Isabel? Adonde hallase un requiebro. ¿Pensáis que no tengo yo Mi poco de entendimiento?

1285

DON JUAN Bien conozco que no ignoras Tanto; que á veces sospecho Que finges lo que no entiendes. DOÑA MARÍA Lo que no quiero no entiendo. Pero á la fe que me admira Que un caballero tan cuerdo Y tan galán como vos Humille sus pensamientos Á una mujer como yo. ¿Sois pobre?

1290

1295

DON JUAN Pues ¿á qué efeto Me preguntas si soy pobre? DOÑA MARÍA Porque si os falta dinero Para pretensiones altas, No tengo por mal acuerdo Requebrar lo que, á la cuenta Del entendimiento vuestro, Os costará zapatillas,

1300

Wed Apr 05 03:15:38 2017 Ligas, medias y un sombrero Para el río con su banda, Avantal de lienzo grueso, Chinelas ya sin virillas (Que solía en otro tiempo En los pies de las mujeres La plata barrer el suelo), Castañetas, cintas, tocas; Que para últimos empleos De las damas, fondo en ángel, No hay plata en el alto cerro Del Potosí, perlas ni oro En los orientales reinos. Más pienso que os costarían Las randas de un telarejo Que una legión de fregonas.

58 1305

1310

1315

DON JUAN No juzgaras mis deseos Por el camino que dices, Si te dijera el espejo El despejo de tu talle.

1320

DOÑA MARÍA ¿Espejo y despejo? ¡Bueno! Ya con cuidado me habláis, Porque en efeto os parezco Mujer que os puedo entender. Pues yo os prometo que puedo; Pero el estar enseñada Á oir vocablos groseros De un indiano miserable: «Vé por esto, vuelve presto, Esto guisa, aquello deja, ¿Limpiaste aquel ferreruelo? Vé por nieve, trae carbón, Esto está sin sal, aquello Sin agrio, llama á ese esclavo, Éste lava, y dame un lienzo, ¿Cómo gastas tanta azúcar? Para madrugar me acuesto, Despiértame de mañana, Pon la mesa, luego vuelvo;» Y otras cosas de este porte Me han quitado el sentimiento De otras razones más grandes, No porque no las entiendo. En efeto ¿qué queréis?

1325

1330

1335

1340

1345

DON JUAN Que me quieras en efeto. DOÑA MARÍA ¡Bien aforrada razón, Y bien dicha para presto! Bien digo yo que pensáis Que á mi corto entendimiento Importan resoluciones, Atajos, y no rodeos. Pues levantad el lenguaje; Que, como dicen los negros, El ánima tengo blanca, Aunque mal vestido el cuerpo. Habladme como quien sois.

1350

1355

Wed Apr 05 03:15:38 2017

59

DON JUAN Yo, Isabel, así lo creo; Porque, pensando en tu oficio, Tal vez el respeto pierdo; Pero en mirando á tu cara, Vuelvo á tenerte respeto. Mas no te debe enojar Que te diga mi deseo; Que sólo son por el fin Todos los actos perfectos. ¿Qué dirás deste lenguaje?

1360

1365

DOÑA MARÍA Que, aunque es el término honesto, No me agrada la intención De la suerte que la entiendo. Conmigo (á lo que imagino) Tomáis la espada á lo diestro. Tiré, desviasteis, huí; Y acometiéndome al pecho, Herida de conclusión Formó vuestro pensamiento. Pues no, mi señor, por vida De los dos, porque no quiero Que, asiendo la guarnición, Engañéis mi honesto celo. Esténse quedas las manos, Y aun los pensamientos quedos; Que no seremos amigos En no siendo el trato honesto.

1370

1375

1380

1385

DON JUAN Como das, Isabel mía, (¿Mía dije? ¡Ay Dios! que miento) En pensar que por ser pobre Te busco, te sigo y ruego, Dilatas á mis verdades El justo agradecimiento. Pues yo te juro, Isabel, Que por quererte, desprecio La más hermosa mujer, Donaire y entendimiento Que tiene aqueste lugar; Porque más estimo y precio Un listón de tus chinelas Que las perlas de su cuello. Más precio en tus blancas manos Ver aquel cántaro puesto, Á la fuente del Olvido Pedirle cristal deshecho; Y ver que á tu dulce risa Deciende el agua riyendo, Envidiosa la que cae De fuera á la que entra dentro; Y ver cómo se da prisa El agua á henchirle de presto, Por ir contigo á tu casa, En tus brazos ó en tus pechos, Que ver como cierta dama Baja en su coche soberbio, Asiendo verdes cortinas Por dar diamantes los dedos, Ó asoma por el estribo Los rizos de los cabellos

1390

1395

1400

1405

1410

1415

Wed Apr 05 03:15:38 2017 En las uñas de un descanso, Que á tantos sirvió de anzuelo. Yo me contento que digas, Dulce Isabel: «¡Yo te quiero!» Que también quiero yo el alma; No todo el amor es cuerpo. ¿Qué respondes, ojos míos?

60 1420

1425

DOÑA MARÍA Á ojos míos yo no puedo Responder ninguna cosa, Porque decís que son vuestros. Á lo de la voluntad, Pienso que licencia tengo; Y así, pues alma queréis, Digo (porque os vais con esto) Que el primer hombre sois vos Á quien amor agradezco.

1430

DON JUAN ¿No más, Isabel? DOÑA MARÍA ¿Es poco? Pues vaya por contrapeso Que no me desagradáis.

1435

DON JUAN ¿No más, Isabel? DOÑA MARÍA ¿Qué es esto? Conténtese, ó quitaréle Lo que le he dado primero.

1440

DON JUAN ¿Podré tomarte una mano? Aunque por Dios que la temo, Después que la ví tan diestra Esgrimir el blanco acero. DOÑA MARÍA Pues vos no me conocéis: Por Dios que algún hombre he muerto Aquí donde me miráis.

1445

DON JUAN Con los ojos, yo lo creo. DOÑA MARÍA Idos; que viene mi amo. DON JUAN ¿Dónde esta tarde te espero? DOÑA MARÍA En la fuente, á lo lacayo.

1450

Wed Apr 05 03:15:38 2017

61

DON JUAN Logre tu donaire el cielo. (_Vase._)

ESCENA VIII LEONOR.--DOÑA MARÍA

LEONOR Isabel... DOÑA MARÍA Leonor amiga... LEONOR ¿Con éste hablabas? DOÑA MARÍA ¿Pues bien? LEONOR ¿Qué se hizo tu desdén?

1455

DOÑA MARÍA Un amor honesto obliga. Y te aseguro de mí Que es mucho tenelle amor. LEONOR Su talle, ingenio y valor Habrán hecho riza en ti. Que lo merece confieso; Pero en la desigualdad No puede haber amistad.

1460

DOÑA MARÍA Los elementos por eso No tienen paz y sosiego: El agua á la tierra oprime, El aire á el agua, y reprime La fuerza del aire el fuego. Mas como él me quiere á mí No más de para querer, ¿Qué pierdo en corresponder? LEONOR Mucho. DOÑA MARÍA ¿Cómo? LEONOR

1465

1470

Wed Apr 05 03:15:38 2017

62

Mucho. DOÑA MARÍA Di. LEONOR Adora mi ama en él. DOÑA MARÍA ¿Quién te lo ha dicho? LEONOR Yo y Juana Lo vemos, y á ella con gana De casamiento, Isabel. Por eso, si no envidaste, Descarta y quédate en dos.

1475

DOÑA MARÍA ¿Sábeslo bien? LEONOR Sí, por Dios. DOÑA MARÍA Tarde, Leonor, me avisaste; No porque pueda alabarse Del más mínimo favor, Sino por tenerle amor, Que no es fácil de olvidarse. Necia fuí en imaginar Que un don Juan tan entonado Para mí estaba guardado.

1480

1485

LEONOR Un hombre te quiero dar Compañero de otro mío, Bravo, pero no cruel, Que puede ser, Isabel, De cuantas profesan brío. No pone codo en la puente Hombre de tales aceros, Ni han visto los lavaderos Más alentado valiente. Ama en tu misma región. ¿Quién te mete con don Juanes?

1490

1495

DOÑA MARÍA Tu ama ¿trata en galanes? LEONOR De honesta conversación De un conde que la visita, Le nacieron los antojos. DOÑA MARÍA ¡Quién la ve tan baja de ojos

1500

Wed Apr 05 03:15:38 2017

63

Á la señora viudita! LEONOR Hermana, enviudó ha dos meses, Viénele grande la cama.

1505

DOÑA MARÍA Y en fin ¿le quiere tu ama? LEONOR Como si juntos los vieses. DOÑA MARÍA Vé por el cántaro, y vamos Al Prado. LEONOR Á Pedro verás; Que se quedan siempre atrás Él y Martín de sus amos. (_Vase._)

1510

ESCENA IX

DOÑA MARÍA Á mis graves desconsuelos Solo faltaba este amor, Á este amor este rigor, Á este rigor estos celos. ¿No me bastaba tener, Para no ser conocida, Este género de vida, Sino á quien quieren querer? Pero andar en competencia, Moza de cántaro en fin, Cristalino serafín, Con vos, será impertinencia. Mejor es ser lo que soy, Pues que no soy lo que fuí: Aprended, flores, de mí Lo que vá de ayer á hoy. (_Vase._)

1515

1520

1525

ESCENA X Prado con una fuente.

MARTÍN, PEDRO PEDRO Y ¿que tiene tan buen talle? MARTÍN Esto me dijo Leonor,

1530

Wed Apr 05 03:15:38 2017 Y que es la moza mejor Que tiene toda la calle. Es una perla, un asombro; Rinden parias á su brío Cuantas llevan ropa á el río Y llevan cántaro en hombro. Es mujer que este don Juan, Primo del Conde mi dueño, Pierde por hablarla el sueño, Desmayos de amor le dan. De la suerte la pasea Que á la dama de más partes; Pero en estos Durandartes Poco el pensamiento emplea. De noche la viene á ver, Y anda el pobre caballero, De su cántaro escudero, Sin dormir y sin comer. Sirve á un caballero indiano Tan cuidado, que consiente Que vaya y venga á la fuente; Puesto que le culpo en vano, Porque pienso que ella gusta De salir, por ver y hablar (Que á mozas deste lugar Mucho el no salir disgusta), Á jabonar y á lavar Á los pilares, á el río.

64

1535

1540

1545

1550

1555

PEDRO En fin, es moza de brío, Y que puede descuidar De camisas y valonas Á un hombre de mi talante.

1560

MARTÍN Lleva, en saliendo, delante Más pretendientes personas Que un oidor ó presidente.

1565

PEDRO Si yo la moza poseo, Luego habrá despolvoreo De todo amor pretendiente: Á ellos de cuchilladas Y á ella de muchas coces. Ya mi cólera conoces.

1570

MARTÍN No la has visto ¿y ya te enfadas? PEDRO Gente de un coche se apea. MARTÍN Con ellos viene don Juan. PEDRO ¡Por vida del alazán, Que no es la viudilla fea!

1575

Wed Apr 05 03:15:38 2017

65

ESCENA XI DOÑA ANA, JUANA, DON JUAN.--DICHOS

DON JUAN Por el coche os conocí, Y luego al Conde avisé, Que en la carroza dejé Harto envidioso de mí. Vine á ver lo que mandáis; Que apearos no habrá sido Sin causa.

1580

DOÑA ANA Causa he tenido; Que siempre vos me la dais. Quiero venir á la fuente, Porque sé que es el lugar Adonde os tengo de hallar, Y donde sois pretendiente.

1585

DON JUAN ¡Buen oficio me habéis dado! Ó de bestia ó de aguador.

1590

DOÑA ANA Conociendo vuestro humor, Señor don Juan, he pensado Venir por agua también.-Muestra ese búcaro, Juana. DON JUAN Dado habéis esta mañana, Filos, Señora, al desdén.

1595

DOÑA ANA Deseando enamoraros, Moza de cántaro soy, Por agua á la fuente voy. DON JUAN Tenéos... DOÑA ANA Quiero agradaros. DON JUAN Es el cántaro pequeño, Templará poco el rigor Á los enfermos de amor.

ESCENA XII

1600

Wed Apr 05 03:15:38 2017

66

DOÑA MARÍA _y_ LEONOR, _con sus cántaros_.--DICHOS

DOÑA MARÍA (_á Leonor_) Esto me dijo mi dueño; Que en el patio de palacio, Archivo de novedades, Ya mentiras, ya verdades, Como pasean de espacio, Lo contaba mucha gente.

1605

LEONOR Y ¿que esa mujer mató Á el que á su padre afrentó? ¡Bravo corazón!

1610

DOÑA MARÍA Valiente. Dijo que había pedido La parte pesquisidor, Y que á el Rey nuestro señor (Cuya vida al cielo pido), Consultaron este caso, Y que no quiso que fuese Quien pesadumbre le diese.

1615

LEONOR No fué la piedad acaso, Si el padre estaba inocente. ¿Y nunca más pareció Esa dama que mató Á el caballero insolente?

1620

DOÑA MARÍA De eso no me dijo nada. Yo estoy contenta de ver (Que en efeto soy mujer) Que la hubiese tan honrada.

1625

LEONOR ¿Dijo el nombre que tenía? Que me alegra á mí también.

1630

DOÑA MARÍA No sé si me acuerdo bien... Aunque sí: doña María. MARTÍN Aquí están dos escuderos Para las dos. LEONOR Isabel, Este mozazo es aquel Que te dije. DOÑA MARÍA

1635

Wed Apr 05 03:15:38 2017

67

¡Oh, caballeros!... MARTÍN (_á Pedro_) Llega, no estés vergonzoso; Llega y habla. PEDRO Estoy mirando Á Isabel, y contemplando Su talle y su rostro hermoso. Téngame vuesamerced Por suyo desde esta tarde.

1640

DOÑA MARÍA (_Ap._ ¡Qué buen hombrón!) Dios le guarde. PEDRO (_ap._) Cayó la daifa en la red. Ya está perdida por mí.

1645

DOÑA MARÍA (_ap._) Con pocos de éstos pudiera Conducir una galera Á la China, desde aquí, Don Fadrique de Toledo. PEDRO Pido mano, doy turrón.

1650

DOÑA MARÍA ¿Mas que lleva un mojicón, Hombrón, si no se está quedo? PEDRO ¡Por el agua de la mar, Que tiene valor la hembra! DOÑA MARÍA Pues no sabe dónde siembra.

1655

PEDRO (_Ap._ Á el primer encuentro azar.) ¡Voto á tus ojos serenos, Isabel, porque te asombres, Que me mate con mil hombres, Y esto será lo de menos! Ablándate, serafín. DOÑA MARÍA Déjeme, no me zabuque. PEDRO Aquí en la esquina del Duque Hay turrón.--Vamos, Martín. MARTÍN

1660

Wed Apr 05 03:15:38 2017

68

Vamos, y gasta; que luego Estará como algodón.

1665

PEDRO Sí, mas ¡coz y mordiscón!... Parece rocín gallego. (_Vanse Martín y Pedro._)

ESCENA XIII DOÑA ANA, DON JUAN, DOÑA MARÍA, LEONOR, JUANA

DOÑA ANA Quedo, no os pongáis delante; Que ya he visto por las señas Que es aquélla vuestra dama.

1670

JUANA Pues Leonor viene con ella, ¿Quién duda que es Isabel? Fuera de que no tuviera Ninguna aquel talle y brío.

1675

DOÑA ANA Disculpa tiene en quererla El señor don Juan. JUANA La moza En otro traje pudiera Hacer á cualquiera dama Pesadumbre y competencia.

1680

DON JUAN ¿Es todo por darme vaya? DOÑA ANA Quisiérala ver más cerca. Dígale vuesamerced Que está aquí una dama enferma, Que se le antoja beber Por la cantarilla nueva; Que no irá de mala gana. DON JUAN Sólo por serviros fuera. DOÑA MARÍA ¡Ay, Leonor! LEONOR ¿Qué?

1685

Wed Apr 05 03:15:38 2017

69

DOÑA MARÍA Tu señora Y aquél mi galán con ella.

1690

LEONOR Parece que te has turbado. DOÑA MARÍA Por poco se me cayera El cántaro de las manos. DON JUAN (_á doña María_) Aquella señora os ruega Que la deis un poco de agua.

1695

DOÑA MARÍA De buena gana la diera Á ella el agua, y á vos Con el cántaro. DON JUAN No seas Necia. DOÑA MARÍA Llevádsela vos, Y de vuestra mano beba.

1700

DON JUAN Mira que en público estamos, Y las mujeres discretas No hacen cosas indignas. DOÑA MARÍA Iré porque nadie entienda Que me da celos á mí.--

1705

(_Llégase á doña Ana._) Vuesamerced beba, y crea Que quisiera que este barro Fuera cristal de Venecia; Pero serálo en tocando Esas manos y esas perlas. DOÑA ANA Beberé, porque he caído. DOÑA MARÍA Si el agua el susto sosiega, Beba; que todos caeremos, Si no en el daño, en la cuenta. DOÑA ANA Yo he bebido.

1710

Wed Apr 05 03:15:38 2017

70

DOÑA MARÍA Y yo también.

1715

DOÑA ANA (_ap._) Yo pesares. DOÑA MARÍA (_ap._) Yo sospechas. DOÑA ANA ¡Qué caliente! DOÑA MARÍA Vuestras manos De nieve servir pudieran. DOÑA ANA (_á Juana_) Haz que llegue el coche. JUANA (_llamando_) ¡Ah, Hernando! DOÑA ANA ¡Buena moza! DOÑA MARÍA Buena sea Su vida.

1720

(_Vanse doña Ana y Juana._)

ESCENA XIV DOÑA MARÍA, DON JUAN, LEONOR

DOÑA MARÍA ¿No la acompaña? ¡Mal galán! ¿Así se queda? DON JUAN Á darte satisfaciones. DOÑA MARÍA Estoy yo tan satisfecha, Que será gastar palabras. DON JUAN Mira, Isabel, que esto es fuerza, Y que bien sabe Leonor (Dejo aparte mi fineza)

1725

Wed Apr 05 03:15:38 2017

71

Que el Conde sirve á doña Ana. DOÑA MARÍA Cántaro, tened paciencia; Vais y venís á la fuente: Quien va y viene siempre á ella, ¿De qué se espanta, si el asa Ó la frente se le quiebra? Sois barro, no hay que fiar. Mas ¿quién, cántaro, os dijera Que no os volviérades plata En tal boca, en tales perlas? Pero lo que es barro humilde, En fin, por barro se queda. No volváis más á la fuente, Porque estoy segura y cierta Que no es bien que vos hagáis Á los coches competencia.

1730

1735

1740

DON JUAN ¿Qué dices? Mira, Isabel, Que sin culpa me condenas.

1745

DOÑA MARÍA Yo con mi cántaro hablo; Si es mío, ¿de qué se queja? Váyase vuesamerced, Mire que el coche se aleja.

1750

DON JUAN Iréme desesperado, Pues haces cosas como éstas, Sabiendo que Leonor sabe Que no es posible que quiera Eso de que tienes celos. (_Vase._)

1755

ESCENA XV DOÑA MARÍA, LEONOR

LEONOR Necia estás. ¿Por qué le dejas Que se vaya con disgusto? DOÑA MARÍA Leonor, el alma me lleva; Que los celos me han picado. Pero no seré yo necia En querer desigualdades, Aunque me abrase y me muera. No he de ver más á don Juan. ¡Esto faltaba á mis penas!

1760

LEONOR ¡Buen lance habemos echado! Tú desesperada quedas, Y mi ama va perdida.

1765

Wed Apr 05 03:15:38 2017

72

ESCENA XVI PEDRO, MARTÍN.--DICHAS

PEDRO Como dos soldados juegan: Perdí el turrón y el dinero. MARTÍN Cosas la corte sustenta, Que no sé cómo es posible. ¡Quién ve tantas diferencias De personas y de oficios, Vendiendo cosas diversas! Bolos, bolillos, bizcochos, Turrón, castañas, muñecas, Bocados de mermelada, Letuarios y conservas; Mil figurillas de azúcar, Flores, rosarios, rosetas, Rosquillas y mazapanes, Aguardiente, y de canela; Calendarios, relaciones, Pronósticos, obras nuevas, Y á _Don Alvaro de Luna_, Mantenedor destas fiestas. Mas quedo; que están aquí.

1770

1775

1780

1785

PEDRO ¡Oigan! ¿De qué es la tristeza? ¿No estaba alegre esta moza? ¡Qué pensativas están!

1790

MARTÍN Pienso que andaba don Juan Acechando una carroza. PEDRO Quien te me enojó, Isabel, Que con lágrimas lo pene: Hágote voto solene Que pueden doblar por él. Vuelve, Isabel, esos ojos; Que no soy yo por lo menos Quien á tus ojos serenos Quitó luz y puso enojos. ¿Quién tan bárbara y cruel, Á tu hermosura atrevido, Causa de tu enojo ha sido? ¿Quién te me enojó, Isabel? No es posible que tuviese Noticia de mi rigor, Sin que luego de temor Súbitamente muriese. Quien te enojó, ¿vida tiene? ¿Que donde estoy, vivo esté? Dime quién es; que yo haré Que con lágrimas lo pene.

1795

1800

1805

1810

Wed Apr 05 03:15:38 2017 Dime cómo y de qué suerte Que le mate se te antoja, Porque en sacando la hoja, Soy guadaña de la muerte. Si el Cid á su lado viene, Gigote de hombres haré, Y de que lo cumpliré Hágote voto solene. Si yo me enojo en Madrid Con quien á ti te ha enojado, Haz cuenta que se ha tocado La tumba en Valladolid. Porque en diciendo, Isabel, Que he de matalle, está muerto. No hay que esperar, porque es cierto Que pueden doblar por él.

73

1815

1820

1825

DOÑA MARÍA Ven, Leonor; vamos á casa. LEONOR Triste vas. DOÑA MARÍA Perdida estoy. PEDRO ¿Así se va? DOÑA MARÍA Así me voy. PEDRO Pues cuénteme lo que pasa. DOÑA MARÍA No quiero. PEDRO Tendréla. DOÑA MARÍA Tome. PEDRO ¡Ay! MARTÍN ¿Qué fué? PEDRO Tamborilada. LEONOR ¿Dístele, Isabel?

1830

Wed Apr 05 03:15:38 2017

74

DOÑA MARÍA No es nada. Pregúntale si le come.

1835

ACTO TERCERO

ESCENA PRIMERA PEDRO, BERNAL, MARTÍN _y_ LORENZO, _dentro_

PEDRO ¡Fuera digo! No haya más. LORENZO ¡Ay, que me ha descalabrado! MARTÍN Con el cántaro le ha dado. BERNAL ¡Lavado, Lorenzo, vas!

1840

LORENZO Esto ¿se puede sufrir? PEDRO Llévale á curar, Bernal. LORENZO ¡Vive Cristo, que la tal!... (_Salen._) MARTÍN No lo acabes de decir. PEDRO No queda lacayo en ser Donde esta mujer está. MARTÍN Bravas bofetadas da. PEDRO Dos mozas azotó ayer. BERNAL ¡Ea, ea! Que no es nada.

1845

Wed Apr 05 03:15:38 2017

75

ESCENA II DOÑA MARÍA, LEONOR.--DICHOS

DOÑA MARÍA ¡Pícaro! ¿Pellizco á mí? ¡Fuera, digo!

1850

LEONOR ¿Estás en ti? LORENZO ¡Á mí, Isabel, cantarada! ¡Voto á el hijo de la mar! DOÑA MARÍA Llegue el lacayo gallina. PEDRO Daga trae en la pretina.

1855

DOÑA MARÍA Y aun enseñada á matar. Llegue el barbado, y daréle Dos mohadas á la usanza De mi tierra, por la panza, Y hará el puñal lo que suele.

1860

LORENZO ¡Mataréla! PEDRO Estoy aquí Á pagar de mi dinero. LORENZO Pues con él haberlas quiero, Aunque es mujer para mí. PEDRO ¡Miente! LORENZO Véngase conmigo. (_Vanse los hombres._)

ESCENA III DOÑA MARÍA, LEONOR

1865

Wed Apr 05 03:15:38 2017

76

LEONOR ¡Buenos van, desafiados! DOÑA MARÍA ¡Qué diferentes cuidados Me da, Leonor, mi enemigo! LEONOR ¿No le has visto más? DOÑA MARÍA Ayer. LEONOR Alegre quisiera hallarte, Porque te alcanzara parte De mi contento y placer. Ya Martín se determina, Y nos queremos casar: Mira que nos has de honrar, Y que has de ser la madrina.

1870

1875

DOÑA MARÍA Estoy desacomodada Del indiano; que si no, Yo lo hiciera: aquí me dió Su casa una amiga honrada, Donde de prestado estoy.

1880

LEONOR Mi Señora te dará Vestidos: vamos allá; Que pienso que ha de ser hoy. DOÑA MARÍA Tendré vergüenza de vella.

1885

LEONOR Anda; que te quiere bien, Y sé que tiene también Gusto de que hables con ella. DOÑA MARÍA Vamos, y de aquí á tu casa Te diré lo que pasó En el río.

1890

LEONOR No fuí yo; Que mujer que ya se casa, Ha de mostrar más recato Del que solía tener. DOÑA MARÍA Es achaque; voy por ver

1895

Wed Apr 05 03:15:38 2017

77

Aquel caballero ingrato. Fuimos Teresa, Juana y Catalina, El sábado, Leonor, á Manzanares: Si bien yo melancólica y mohina De darme este don Juan tantos pesares. De tu dueño las partes imagina; Que cuando en su valor, Leonor, repares, Presumirás, pues no me he vuelto loca, Que soy muy necia ó mi afición es poca. Tomé el jabón con tanto desvarío Para lavar de un bárbaro despojos, Que hasta los paños me llevaba el río, Mayor con la creciente de mis ojos. Cantaban otras con alegre brío, Y yo, Leonor, lloraba mis enojos: Lavaba con lo mesmo que lloraba, Y al aire de suspiros lo enjugaba. Bajaba el sol al agua trasparente, Y, el claro rostro en púrpura bañado, Las nubes ilustraba de occidente De aquel vario color tornasolado; Cuando, despierta ya del accidente, Saqué la ropa, y de uno y otro lado, Asiendo los extremos, la torcimos, Y á entapizar los tendederos fuimos. Quedando pues por los menudos ganchos Las camisas y sábanas tendidas, Salieron cuatro mozas de sus ranchos, En todo la ribera conocidas; Luego, de angostos pies y de hombros anchos, Bigotes altos, perdonando vidas, Cuatro mozos: no hablé; que fuera mengua, Estando triste el alma, hablar la lengua. Tocó, Leonor, Juanilla el instrumento Que con cuadrada forma en poco pino, Despide alegre cuanto humilde acento, Cubierto de templado pergamino; Á cuyo son, que retumbaba el viento, Cantaba de un ingenio peregrino, En seguidillas, con destreza extraña, Pensamientos que envidia Italia á España. Bailaron luego hilando castañetas Lorenza y Justa y un galán barbero Que mira á Inés, haciendo más corvetas Que el Conde ayer en el caballo overo. ¡Oh celos! todos sois venganza y tretas, Pues porque ví bajar el caballero Que adora de tu dueño la belleza, No le quise alegrar con mi tristeza. Entré en el baile con desgaire y brío, Que, admirándole ninfas y mozuelos, «¡Vítor!» dijeron, celebrando el mío: Y era que amor bailaba con los celos. Estando en esto, el contrapuesto río Se mueve á ver dos ángeles, dos cielos, Que á la Casa del Campo (Dios los guarde) Iban á ser auroras por la tarde. ¿No has visto á el agua, al súbito granizo Esparcirse el ganado en campo ameno Ó volar escuadrón espantadizo De las palomas, en oyendo el trueno? Pues de la misma suerte se deshizo El cerco bailador, de amantes lleno, En oyendo que honraban la campaña Felipe y Isabel, gloria de España. ¿No has visto en un jardín de varias flores La primavera en cuadros retratada, Que por la variedad de las colores,

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Aun no tienen color determinada, Y en medio ninfas provocando amores? Pues así se mostraba dilatada La escuadra hermosa de las damas bellas, Flores las galas y las ninfas ellas. Yo, que estaba arrobada, les decía Á los reyes de España: «Dios os guarde, Y extienda vuestra heroica monarquía Del clima helado á el que se abrasa y arde;» Cuando veo que dice: «Isabel mía,» Á mi lado don Juan; y tan cobarde Me hallé á los ecos de su voz, que luego Fué hielo el corazón, las venas fuego. «Traidor, respondo, tus iguales mira; Que yo soy una pobre labradora.» Y diciendo y haciendo, envuelta en ira, Sigo la puente, y me arrepiento agora: Verdad es que le siento que suspira Tal vez desde la noche hasta el aurora; Mas recelo, si va á decir verdades, Lo que se sigue á celos y amistades. (_Vanse._)

1965

1970

1975

1980

ESCENA IV Sala en casa de doña Ana. DOÑA MARÍA, LEONOR; _después_, DOÑA ANA _y_ JUANA

LEONOR Á mi casa hemos llegado: Después, que no puedo agora, Porque viene mi Señora, Te diré lo que ha pasado Por los celos en los dos.

1985

(_Salen doña Ana y Juana._) DOÑA ANA ¿Ésta dices? JUANA Ésta es.

1990

DOÑA MARÍA Dadme, Señora, los pies. DOÑA ANA Isabel, guárdela Dios. ¿Qué se ofrece por acá? DOÑA MARÍA Quiéreme hacer su madrina Leonor, que no me imagina Desacomodada ya. DOÑA ANA ¿No está ya con el indiano?

1995

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DOÑA MARÍA No, Señora. DOÑA ANA Pues ¿por qué? DOÑA MARÍA Cierto atrevimiento fué, De hombre al fin; pero fué en vano.

2000

DOÑA ANA ¿Cómo, cómo, por mi vida? DOÑA MARÍA Pudiera estar satisfecho De mi honor y de mi pecho: De mi honor por bien nacida, De mi pecho porque, habiendo Entrado por los balcones Una noche tres ladrones, Que ya le estaban pidiendo Las llaves, tomé su espada, Y aunque ya se defendieron, Por la ventana salieron, Y esto á pura cuchillada. Pero obligándole á amor Lo que pudiera á respeto, Me llamó una noche, á efeto De no respetar mi honor. Que le descalzase fué La invención: llego á su cama, Donde sentado me llama, Y humilde le descalcé. Pero echándome los brazos, Tan descortés procedió, Que á arrojarle me obligó Donde le hiciera pedazos. Mas de aquellos desatinos Sus zapatos me vengaron, Cuyas voces despertaron La mitad de los vecinos. Y aunque culpando el rigor, Poniéndose de por medio, Celebraron el remedio Para quitarle el amor.

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2010

2015

2020

2025

2030

DOÑA ANA Notable debes de ser. Cierto que te tengo amor. JUANA Es el servicio mejor Y la más limpia mujer De cuantas andan aquí. Ruégale que esté contigo. DOÑA ANA ¿No querrás estar conmigo, Isabel?

2035

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DOÑA MARÍA Señora, sí.

2040

DOÑA ANA ¿Qué sabes hacer? DOÑA MARÍA Lavar, Masar, cocer y traer Agua. DOÑA ANA ¿No sabrás coser? DOÑA MARÍA Bien sé coser y labrar. DOÑA ANA Pues eso será mejor. Manto y tocas te daré.

2045

DOÑA MARÍA Señora, yo no sabré Servir de dueña de honor. Éste es un hábito agora De cierta desdicha mía, Que vos sabréis algún día. (_Vase._)

2050

JUANA Aquí está don Juan, Señora.

ESCENA V DON JUAN, MARTÍN.--DOÑA ANA, LEONOR, JUANA

DON JUAN Siempre soy embajador. El Conde os pide licencia, Y dice que de su ausencia Fué causa vuestro rigor; Que tratáis tan mal su amor, Que ya toma por partido, En la caza divertido, Solicitar á su daño Una manera de engaño Que á los dos parezca olvido: Á vos excusando el veros, Y á él, Señora, el cansaros. Pero no quiere engañaros Ni olvidarse de quereros: Visitaros y ofenderos Es fuerza para serviros. Esto me manda deciros: Mirad si le dais licencia;

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Que le cuesta vuestra ausencia Cuantos instantes, suspiros. DOÑA ANA Vos venís en ocasión Que os he hecho un gran servicio: Á lo menos es indicio De ésta mi loca pasión. Mirad en qué obligación Os pone el haber traído Á mi casa quien ha sido Lo que tanto habéis amado; Que os quiero ver obligado, Pues no puedo agradecido. Volved los ojos, veréis Á Isabel, que viene aquí, No para servirme á mí, Sino á que vos la mandéis; Que no quiero que os canséis En buscarla en fuente ó prado. Mirad si estáis obligado, Y cómo he sabido hacer Que vos me vengáis á ver, No como hasta aquí, forzado.

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DON JUAN De vuestra queja os prometo Que es el Conde, mi señor, La causa, cuyo valor Únicamente respeto; Porque ¿cuál hombre discreto No conociera y amara De vuestra belleza rara La divina perfección, Y el discurso á la razón, Y á vos el alma negara? Con esto la puse en quien La misma desigualdad Disculpe la voluntad, Para no quereros bien. Mas no me pidáis que os den Gracias de haberla traído Mis ojos; que antes ha sido Para no poderla ver, Pues testigo habéis de ser, Y yo menos atrevido.

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ESCENA VI EL CONDE.--DICHOS

CONDE Tanto la licencia tarda, Que sin ella vengo á veros. DOÑA ANA Conde, mi señor, disculpa. De ausencia de tanto tiempo.-Llega una silla, Isabel.

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DON JUAN Aquí me estaban riñendo Tu ausencia. CONDE ¡Buena criada! Y nueva; que no me acuerdo Haberla visto otra vez.

2120

DOÑA ANA ¡Buena cara, gentil cuerpo! ¿No es muy linda? CONDE ¡Sí, por Dios! DOÑA ANA De que os agrade me huelgo; Que es la dama de don Juan.

2125

CONDE Si es así el entendimiento, Disculpa tiene mi primo. Verla más de espacio quiero.-Pasad, Señora, adelante, ¿De dónde sois? DOÑA MARÍA No sé cierto; Porque ha mucho que no soy.

2130

CONDE Partes en la moza veo, Que en otro traje pudieran, Con el donaire y aseo, Dar, fuera de vuestros ojos, Á muchos envidia y celos. Mi primo es tan singular, Que por bizarría ha puesto Las preferencias del gusto En tan bajos fundamentos.

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MARTÍN Á mí responder me toca. Perdónenme si me atrevo, Por el honor del fregado, La opinión del lavadero, Del cántaro y el jabón; Que más de cuatro manteos, De ésos con esteras de oro, Cubren algunos defetos.

2145

DOÑA ANA Cásase Martín agora Con mi Leonor, y por eso Siente que vueseñoría Haga de don Juan desprecio.

2150

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DON JUAN ¡Dar en el pobre don Juan! CONDE Huélgome del casamiento. Y ¿seréis vos la madrina? Porque ser padrino quiero.

2155

DOÑA ANA No, Señor, que es Isabel; Que pienso que ha mucho tiempo Que ella y Leonor son amigas. CONDE Pues tócale de derecho Ser el padrino á don Juan.

2160

DON JUAN Basta; que estáis de concierto Todos contra mí. Pues vaya; Que el ser el padrino aceto. CONDE ¿Cómo calla la madrina?

2165

DOÑA MARÍA Señor, corto entendimiento Presto se ataja, y más donde Hay tantos y tan discretos. Allá en mi lugar un día Un muchacho en un jumento Llevaba una labradora, Y perdonad, que iba en pelo. «Hazte allá, que le maltratas,» Iba la madre diciendo; Y tanto hacia atrás se hizo, Que dió el muchacho en el suelo. Díjole: «¿Cómo caíste?» Y disculpóse diciendo: «Madre, acabóseme el asno.» Así yo, que hablando veo Á tan discretos señores, Hago atrás mi entendimiento, Hasta que he venido á dar Con el silencio en el suelo.

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MARTÍN (_ap._) Tomen lo que se han ganado.

2185

DOÑA MARÍA Es el Conde muy discreto, Y la señora doña Ana Un ángel; pues yo ¿qué puedo Decir que no sea ignorancia? DOÑA ANA Ahora bien, Señor, hablemos De la ausencia destos días.

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Ya me olvidáis, ya me quejo De vos al pasado amor. CONDE Negocios son, os prometo, Que me han tenido ocupado Por un notable suceso. Mató en Ronda cierta dama Guzmán y Portocarrero, Cuyo padre con el duque De Medina tiene deudo, Un caballero su amante.

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DOÑA ANA ¿Con qué ocasión? ¿Fueron celos? CONDE Desagraviando á su padre De un bofetón, porque el viejo No estaba para las armas.

2205

DOÑA ANA ¡Gran valor! DON JUAN ¡Valiente esfuerzo! Diera por ver á esa dama Toda cuanta hacienda tengo. DOÑA MARÍA (_ap._) Turbada estoy, encubrir Puedo apenas lo que siento.

2210

CONDE Al fin, perdonó la parte, Poniéndose de por medio, Entre deudos de unos y otros, Muchos nobles caballeros. Con esto me ha escrito el Duque, Por el mismo parentesco, Alcance el perdón del Rey; Lo que hoy, Señora, se ha hecho. Mándame también buscalla, Si entre tantos extranjeros Alguna nueva se hallase, Siendo esta corte su centro. Mirad si estoy disculpado; Y porque me voy con esto, Vendré, Señora, á la noche, Si me dais licencia, á veros.

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DOÑA ANA Id con Dios; volvé á la noche. CONDE Si haré, encanto de Babel.-Quedáos con vuestra Isabel; (_Á don Juan._) Que yo me voy en el coche.

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(_Vanse el Conde, doña Ana y los criados._)

ESCENA VII DOÑA MARÍA, DON JUAN

DON JUAN Alegre, Isabel, estás, Que ya el cántaro dejaste, Pues con la fe le mudaste, Y con el alma, que es más. Que desde que te la dí, De cántaro la tenía, Pues pienso que se decía Este proverbio por mí. Nunca quisiste trocar, Cuando yo lo deseaba, Al hábito que te daba El que ya quieres dejar. Si cuando yo te rogué, Hábito honrado tomaras, La voluntad disculparas, Que baja en tus prendas fué. Si el venir aquí son celos, Pensando que así me guardas, Son, Isabel, sombras pardas En ofensa de tus cielos. ¿Qué guarda de más valor, Isabel, que tu hermosura, Si ella misma te asegura Que merece tanto amor? ¡Vive Dios, que te he querido, Y te quiero y te querré, Con tanta firmeza y fe, Que vive mi amor corrido De no vencer tu rigor, Siendo tú tan desigual!

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DOÑA MARÍA Quien siente bien no habla mal; Que para tener valor Con que poder igualaros, Aunque de vuestro apellido Príncipes haya tenido Italia y Francia tan raros, Sóbrame á mí el ser mujer; Pero si de vuestro engaño Á los dos resulta daño, Desengaño habrá de ser. No estoy contenta de estar Donde, con hacer mudanza Del hábito, mi esperanza Aspire á mejor lugar. Ni menos estoy celosa, Ni os guardo, aunque os he querido; Que en este humilde vestido Hay un alma generosa, Tan soberbia y arrogante, Que el cántaro que dejé, Un cielo en mis hombros fué, Como el que sustenta Atlante. Yo os quiero bien, aunque soy

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Wed Apr 05 03:15:38 2017 De naturaleza esquiva; Pero hay otro amor que priva, Por quien os dejo y me voy. No os dé pena; que os prometo Que no hay nieve tan helada; Pero he nacido obligada Á su amor y á su respeto. No puedo hacer más por vos Que decir que os he querido: En fe de lo cual os pido, Y del amor de los dos, Que una cosa hagáis por mí.

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DON JUAN ¿Como ausentarte, mi bien? Después de tanto desdén, ¿Esto merezco de ti? DOÑA MARÍA No excuso, aunque lo sintáis, Este camino. DON JUAN Isabel, ¿Qué dices?

2300

DOÑA MARÍA Que para él Esta joya me vendáis. Diamantes son: claro está Que justa sospecha diera Si á vender diamantes fuera Mujer que á la fuente va; Que con lo que ella valiere, Podré á mi casa llegar.

2305

DON JUAN Cuando pensaba esperar, Quiere amor que desespere. ¡Notable desdicha mía! ¡Tristes nuevas! ¿Quién amó Con la fortuna que yo? Mas ¿quién, sino yo, podía? Tened la joya y la mano, Que entrambas diamantes son, Si es la mina un corazón Tan firme como tirano; Que cuando forzosa sea Vuestra partida, no soy Hombre tan vil...

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DOÑA MARÍA Si no os doy La joya, don Juan, no crea Vuestro pecho liberal Obligarme con dinero; Que, pues de vos no lo quiero, Bien creeréis que me está mal. ¡Oh, qué habréis imaginado De cosas, después que visteis La joya! Aunque no tuvisteis Culpa de haberlas pensado,

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Pues yo os he dado ocasión. DON JUAN Cuando yo, Isabel, pensara Tal bajeza, imaginara Prendas que más altas son De las que tenéis, bastantes Á abonaros; cuando fuera Hurto, mayor le creyera, Si fueran almas, diamantes. Algo sospecho encubierto, Isabel; y en duda igual, Que sois mujer principal Tengo por mayor acierto. Que desde el punto que os ví Con el cántaro, Isabel, Echó amor suertes en él Para vos y para mí. Vos salisteis diferente De lo que aquí publicáis, Y yo sin dicha si os vais, Para que yo muera ausente. ¿Quién sois, hermosa Isabel? Porque cántaro y diamantes Son dos cosas muy distantes; Que hay mucha bajeza en él, Y en vos mucho entendimiento, Mucha hermosura y valor, Mucho respeto al honor, Que es más encarecimiento. La verdad se encubre en vano; Que como al que ayer traía Guantes de ámbar, otro día, Le quedó oliendo la mano; Así, quien señora fué, Trae aquel olor consigo, Aunque del ámbar que digo, Reliquias muestre por fe.

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DOÑA MARÍA No os canséis en prevenciones; Que yo no os he de engañar.

ESCENA VIII LEONOR.--DICHOS

LEONOR ¿Cuándo piensas acabar, Isabel, tantas razones? Vente á vestir y á vestirme; Que mi señora te llama. DOÑA MARÍA Voy á ponerme de dama. DON JUAN ¿Volverás?

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DOÑA MARÍA Á despedirme. (_Vanse los dos._)

ESCENA IX

DON JUAN ¿Qué confusión es ésta que levanta Amor en mis sentidos nuevamente, Que á tales pensamientos adelanta Mi dulce cuanto bárbaro accidente? Así el cautivo en la cadena canta, Así engañado se entretiene, ausente, De vanas esperanzas, que algún día Verá la patria en que vivir solía. No con menos temor, menos sosiego, Tímido ruiseñor su esposa llama, Á quien el plomo en círculos de fuego Quitó la amada vida en verde rama, Que mi confuso pensamiento ciego En noche obscura los engaños ama, Esperando que llegue con el día La muerta luz de la esperanza mía. Mas ¿cómo puede haber tales engaños? Cómo pensar mi amor que la belleza No puede haber nacido en viles paños, Si pudo la fealdad en la nobleza? Así, para mayores desengaños, Mostró por variedad naturaleza De un espino la flor candida, hermosa, Y vestida de púrpura la rosa. Que darme yo á entender que la hermosura Que ví llevar un cántaro á la fuente, Por engastar el barro en nieve pura Del cristal de una mano trasparente, No pudo proceder de sangre obscura, Y nacer entendida humildemente, Es vano error, pues siempre amando veo Calificar bajezas el deseo. Pues ¿quién será Isabel, locura mía, Con hermosura y prendas celestiales? ¡Oh! ¿cuándo resistió tanta porfía La bajeza de humildes naturales? No ha de pasar sin que lo sepa el día. Industrias hay; y si por dicha iguales Somos los dos, como mi amor desea, Tu cántaro, Isabel, mi dote sea. No te pienses partir, si por ventura No lo quieres fingir para matarme; Que ya no tiene estado mi locura Que yo pueda perderte y tú dejarme; Que si tienes nobleza y hermosura, Del cántaro por armas pienso honrarme; Que con el premio con que ya se trata, Amor le volverá de barro en plata. (_Vase._)

ESCENA X

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Calle. MARTÍN, PEDRO

PEDRO Martín, en esta ocasión Me habéis desfavorecido: Quejoso estoy y ofendido.

2425

MARTÍN Pedro, no tenéis razón; Que el Conde gusta que sea Padrino con Isabel. PEDRO Ensancharáse con él Cuando á su lado se vea. Yo sé que si me casara, Padrino os hiciera á vos.

2430

MARTÍN Yo no pude más, por Dios. PEDRO Pedro ¿también no la honrara? ¿No tengo cueras y sayos, Capas, calzas, que por yerro Quedaron en su destierro Vinculadas en lacayos? Pues ¡por el agua de Dios, Aunque poca me ha cabido, Que soy yo tan bien nacido!...

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MARTÍN ¿Quién pudiera como vos Honrarme con Isabel? PEDRO ¿Hay hidalgo en Mondoñedo Que pueda, como yo puedo, Volver la silla á el dosel?

2445

MARTÍN Dejad el enojo ya; Y pues que sois entendido, Decidme si acierto ha sido Casarme. PEDRO Pues claro está; Que es muy honrada Leonor, Aunque pide más caudal La talega de la sal, Que anda el tiempo á el rededor. Mas queriendo el Conde bien Á doña Ana, por Leonor Os hará siempre favor, Y ella ayudará también De su parte á vuestra casa.

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MARTÍN Pues con eso pasaremos.

2460

PEDRO ¿Quién queréis que convidemos? MARTÍN No lo excusa quien se casa. Á Rodríguez lo primero, Á Galindo y á Butrón, Á Lorenzo y á Ramón, Y á Pierres, buen compañero.

2465

PEDRO Haced llevar un menudo; Que no hay hueso que dejar. MARTÍN Eso es darles de cenar. PEDRO En esta ocasión no dudo De que tendrán los señores Arriba gran colación.

2470

MARTÍN Por allá conservas son Y confites de colores. PEDRO Lobos de marca mayor Tendremos en cantidad.

2475

MARTÍN Pedro, ésa es enfermedad Que no ha menester doctor. (_Vanse._)

ESCENA XI Sala en casa de doña Ana. DOÑA ANA, DON JUAN

DON JUAN Yo pienso que es condición, Y no amor, vuestra porfía. DOÑA ANA Y ¿quién sin amor podía Sufrir tanta sinrazón? DON JUAN

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No es sinrazón la ocasión Que me fuerza á no querer Lo que del Conde ha de ser.

2485

ESCENA XII EL CONDE, _que se queda escuchando sin que le vean_.--DICHOS.

CONDE (_ap._) Necios celos me han traído De un deudo amigo fingido Y de una ingrata mujer. DON JUAN Cuando no os quisiera bien El Conde, mil almas fueran Las que estos ojos os dieran.

2490

DOÑA ANA ¡Oh, mal haya el Conde, amén! CONDE (_ap._) Don Juan la muestra desdén, Y ella á don Juan solicita. DOÑA ANA Con oro en mármol escrita Tiene el amor una ley, Que como absoluto rey, No hay traición que no permita. Demás, que esto no es traición; Que nunca yo quise al Conde.

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CONDE (_ap._) En lo que agora responde Conoceré su intención. DON JUAN Ninguna loca afición Que se haya visto ni escrito, Ha disculpado el delito Del amigo; que el valor Es resistir á el amor, Y vencer á el apetito. Que yo con vos me casara Es sin duda, si pudiera. DOÑA ANA Y ¿si el Conde lo quisiera, Y aun él mismo os lo mandara? DON JUAN Entonces es cosa clara; Mas cierta podéis estar

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Que no me lo ha de mandar. Y así, me voy; que no quiero Dar á tan gran caballero Ni sospecha ni pesar.

2515

CONDE Detente. DON JUAN Si habéis oído Lo que ya sospecho aquí, Pienso que estaréis de mí Seguro y agradecido.

2520

CONDE Todo lo tengo entendido; Y si por quereros bien Trata mi amor con desdén Doña Ana, no ha sido culpa, Porque sois vos la disculpa, Y mi desdicha también. Dice que sabe de mí Que os mandaré que os caséis: Dice bien, y vos lo haréis, Porque yo os lo mando así. Que á saber, cuando la ví, Que os tenía tanto amor, No la amara; aunque en rigor Fué engañado pensamiento Que con tal entendimiento No escogiese lo mejor.

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DON JUAN Aunque á Alejandro imitéis En darme lo que estimáis, Ni como Apeles me halláis, Ni enamorado me veis, Ni vos mandarme podéis Que sea lo que no fuí; Pues cuando pudiera aquí Ser lo que no puede ser, No quisiera yo querer Á quien os deja por mí.

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DOÑA ANA Quedo, quedo; que no soy Tan del Conde, que me dé, Ni tan de don Juan, que esté Menos contenta ayer que hoy. Libre, á mí misma me doy, Y daré luego, si quiero, Á un honrado caballero Mujer y cien mil ducados, Sin suegros y sin cuñados, Que es otro tanto dinero.

2550

ESCENA XIII

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DOÑA MARÍA, _de madrina y muy bizarra, con_ LEONOR, _de la mano_; MARTÍN, PEDRO, LORENZO, BERNAL _y_ OTROS LACAYOS, _muy galanes_;

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ACOMPAÑAMIENTO DE MUJERES DE LA BODA, MÚSICOS.

MÚSICOS (_cantan_) _En la villa de Madrid Leonor y Martín se casan: Corren toros y juegan cañas._

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MARTÍN ¡Mala letra para novios! PEDRO Pues ¿no os agrada la letra? MARTÍN Correr toros y casarme Paréceme á los que llevan Pronósticos para el año Dos meses antes que venga.

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CONDE Gallarda viene la novia; Pero quien no conociera Á Isabel, imaginara, Viéndola grave y compuesta, Que era mujer principal.

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DOÑA ANA Juzgarse puede por ella Cuánto las galas importan, Cuánto adorna la riqueza.

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CONDE ¡Qué perdido está don Juan! DOÑA ANA ¡Qué admirado la contempla! CONDE Por Dios, que tiene disculpa De estimarla y de quererla; Que la gravedad fingida Parece tan verdadera, Que, á no conocerla yo Y saber sus bajas prendas, Hiciera un alto conceto De su gallarda presencia.

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DON JUAN (_Para sí._ Amor, si en esta mujer No está oculta la nobleza, La calidad y la sangre Que por lo exterior se muestra, ¿Qué es lo que quiso sin causa Hacer la naturaleza, Pues pudiendo en un cristal Guarnecido de oro y piedras, Puso en un vaso de barro

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Wed Apr 05 03:15:38 2017 Alma tan ilustre y bella? Yo estoy perdido y confuso, Doña Ana celosa de ella, El Conde suspenso, hurtando Á su gravedad respuesta. Ella se parte mañana, Diamantes me da que venda; ¿Qué tienen que ver diamantes Con la fingida bajeza? Pues ¿he de quedar así, Amor, sin alma y sin ella? ¿No alcanza el ingenio industria? No suele en dudosas pruebas, Por las inciertas mentiras, Hallarse verdades ciertas? Ahora bien; no ha de partirse Isabel sin que se entienda Si en exteriores tan graves Hay algún alma secreta.) Conde, el más alto poder Que reconoce la tierra, El cetro, la monarquía, La corona, la grandeza Del mayor rey de los hombres, Todas las historias cuentan, Todos los sabios afirman, Todos los ejemplos muestran Que es amor; pues siendo así, Y que ninguno lo niega, Que yo por amor me case, Que yo por amor me pierda, No es justo que á nadie admire, Pues cuantos viven confiesan Que es amor una pasión Incapaz de resistencia. Yo no soy mármol, si bien No soy yo quien me gobierna; Que obedecen á Isabel Mis sentidos y potencias. Cuando esto en público digo, No quiero que nadie pueda Contradecirme el casarme, Pues hoy me caso con ella. Sed testigos que le doy La mano.

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CONDE ¿Qué furia es ésta? DOÑA ANA Loco se ha vuelto don Juan.

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CONDE ¡Vive Dios, que si es de veras, Que antes os quite la vida Que permitir tal bajeza! ¡Hola! Criados, echad Esta mujer hechicera Por un corredor, matadla. DON JUAN Ninguno, infames, se atreva; Que le daré de estocadas.

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CONDE Un hombre de vuestras prendas ¡Quiere infamar su linaje!

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DON JUAN ¡Ay Dios! Su bajeza es cierta, Pues calla en esta ocasión. Ya no es posible que pueda Ser más de lo que parece. CONDE ¿Con cien mil ducados deja Un hombre loco mujer, Que me casara con ella, Si amor me hubiera tenido?

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DOÑA MARÍA Quedo, Conde; que me pesa De que me deis ocasión De hablar.

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DON JUAN (_ap._) ¡Ay Dios! ¡Si ya llega Algún desengaño mío! DOÑA MARÍA No está la boda tan hecha Como os parece, Señor; Porque falta que yo quiera. Para igualar a don Juan, ¿Bastaba ser vuestra deuda Y del duque de Medina?

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CONDE Bastaba, si verdad fuera. DOÑA MARÍA ¿Quién fué la dama de Ronda Que mató, por la defensa De su padre, un caballero, Cuyo perdón se concierta Por vos, y que vos buscáis?

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CONDE Doña María, á quien deban Respeto cuantas historias Y hechos de mujeres cuentan.

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DOÑA MARÍA Pues yo soy doña María, Que por andar encubierta... DON JUAN No prosigas relaciones, Porque son personas necias, Que en noche de desposados Hasta las doce se quedan.

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Dame tu mano y tus brazos. MARTÍN Leonor, á escuras nos dejan. Los padrinos son los novios.

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DOÑA ANA Justo será que lo sean El Conde y doña Ana. CONDE Aquí Puso fin á la comedia Quien, si perdiere este pleito, _Apela á Mil y Quinientas_. Mil y quinientas ha escrito: Bien es que perdón merezca.

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NOTES

ACT I =Ronda.= A city of about 20,000 in Southern Spain, founded by the Romans and occupied for many centuries by the Moors. On account of its history and its natural beauty it is one of the most interesting cities in Spain. 1. =Es cosa... de risa=, _It is enough to make one die of laughter._ 3. =Lüisa=, spelled with the dieresis for metrical reasons. 4. =Narcisos.= Now a common noun and written with a small letter. In origin the word is derived from the mythological character, Narcissus, the son of the river Cephissus and the nymph Liriope. He was insensible to the charms of all the nymphs, who at last appealed to Nemesis for revenge. She made him fall in love with his own image reflected in a fountain; because he could not grasp it he longed for death and, according to Ovid, was metamorphosed into the flower which bears his name. A century before Lope it had evidently not yet passed into such common usage, for in the _Celestina_ we read: "Por fe tengo que no era tan hermoso aquel gentil Narciso, que se enamoró de su propia figura cuando se vido en las aguas de la fuente." (_Novelistas Anteriores á Cervantes_, p. 25.) 8. =consultas= are reports or advice submitted to a ruler, hence the use of _alteza_. 10. =entre otras partes.= The Parisian edition of 1886, for no evident reason, reads, entre otros partes. 12. =el duque de Medina.= Gaspar Alonzo de Guzmán, duque de Medina-Sidonia, was a relative of Olivares and head of the great house of Guzmán of which the prime minister was a descendant through a younger branch. He was immensely wealthy and enjoyed high favor at court during the first years of the reign of Philip IV. Later, as governor of Andalusia, he conceived the idea of establishing a separate kingdom, as his brother-in-law, Juan de Braganza, had done in Portugal in 1640. His plans were discovered and as punishment and humiliation he was compelled to challenge the king of Portugal to a duel for the aid the latter was to give to the projected uprising in Andalusia. He made the journey to the Portuguese border only to find that Braganza had ignored his

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challenge. Covered with ridicule by the affair he passed the rest of his life in obscurity and disgrace. At the time Lope de Vega was writing _La Moza de Cántaro_ he seems to have been seeking the favor of Olivares and therefore made the leading character of the play a relative of the favorite and the Duque de Medina-Sidonia. 16. =Señora= is now regularly written in such cases with a small letter, as well as similar titles hereafter encountered in the play. 17. =Lindamente... vanidad=, _You know my weakness! You are trying to flatter me._ 21. =Sevilla=, the metropolis of Andalusia and a city always noted for the beauty of its women. 29. =Éste.= Supply _papel_ as suggested by line 3. 35. =quiere en la memoria de la muerte=, etc., that is, after he has died for her. After 40. =Con hermoso=, etc. The author evidently intends to make the suitor write a wordy letter void of clear meaning, and that he is striking a blow at the then popular literary affectation known as _culteranismo_ is indicated beyond a doubt by the word _culto_ in line 43. A comparison of the passage with Cervantes’ celebrated quotation from Feliciano de Silva, "La razón de la sinrazón" is interesting. (See _Don Quijote_, Part I, Chap. I.) A possible translation of the letter is as follows: "With fair though stern, not sweet, yet placid countenance, lady mine, appearances deceiving you, there gazed at me last week your disdain, imbued with all benevolence and yet rigid, and withal its brilliancy not solicitous, (benevolence) which with celestial candor illumines your face." 44. =¿Habla de aciértame aquí?= The imperative is used here as a noun after the preposition and the verse is approximately equivalent to the expression "Habla de alguna adivinanza aquí?" 54. =¿Qué nada te ha de agradar?= _Can nothing please you?_ 58. =Yo no tengo de querer.= _Tener de_ is used here where we should now expect _haber de_ or _tener que_. 62. =Flandes.= In the time of Lope de Vega Spain held the Netherlands and constantly maintained a large force there. 64. Zerolo’s edition has a comma instead of a period at the end of this line. Either punctuation makes good sense. 66. =que yo... aquí=, _for of all those who appear here I do not see one to whom I should direct my favor_. 70. =si va á decir verdad=, _if the truth be told_. 79. =ansí=, middle Spanish and archaic form of _así_. Cf. the French _ainsi_. 92. =La primera necedad=, etc., _They say that the greatest folly is not the one to be feared, but those which follow it seeking to undo it._ 95. =deshacella==_deshacerla_. In earlier Spanish verse the assimilation of the r of the infinitive is quite common. 107. =Muchas se casan aprisa=, etc. Compare the English proverb of similar purport, "Marry in haste and repent at leisure." 121. =dél==_de él_. A contraction no longer approved by the Spanish Academy.

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124. =Pedro el Cruel= (1334-1369) was proclaimed king of Castile at Seville in 1350 after the death of his father, Alphonso XI. He early became infatuated with María de Padilla, but was made to marry against his will Blanche de Bourbon whom he immediately put aside. Pedro then plunged into a career of crime seldom equaled in Spanish history. Several times he was dethroned but always succeeded in regaining the scepter. He was finally killed by his own brother, Henry of Trastamare, at Montiel. Pedro’s meritorious works were his successful efforts to break down the feudal aristocracy and his encouragement of arts, commerce and industry. 133. =Don Diego de noche y coche.= The implication is that don Diego is one who would woo his lady love at night and under the cover of a carriage rather than in the more open and approved manner of a gentleman of his rank. In spite of the brilliant example of the king, horsemanship was becoming a lost art and in a complaint of a member of the Cortes, addressed to the king, the subject is treated as follows: "The art of horsemanship is dying out, and those who ought to be mounted crowd, six or eight of them together, in a coach, talking to wenches rather than learning how to ride. Very different gentlemen, indeed, will they grow up who have all their youth been lolling about in coaches instead of riding." (Martin Hume, _The Court of Philip IV_, p. 130.) There is also a flower called _dondiego de noche_, and the author may have intended to make also a subtle play on words between this and the more suggestive meaning. 138. =De noche visiones.= "Thoughts of him at night give me the nightmare!" Stage directions: =hábito de Santiago:= The order of Santiago is one of the oldest and most distinguished of all the Spanish military orders. It is said to have been approved by the Pope in 1175 and had during the middle ages great military power. The right to confer it is now vested in the crown of Spain. The badge is a red enamel cross, in the form of a sword with a scallop-shell at the junction of the arms. 174. =agora=, archaic and poetic word, synonym of _ahora_ which is of similar origin. _Hac hora > agora_ and _ad horam > ahora_. 180. =primer licencia.= The apocapation of the feminine of the adjective _primero_ is not admissible in modern Spanish. 181. =Duque=, that is, the Duque de Medina. See v. 12 and note. 188. =Lugar... deba=, _A place which is certainly its due._ 192. =la Plaza= mentioned here is evidently the Plaza de la Ciudad, which is the center of the ancient part of the city. 197. =Sanlúcar= (de Barrameda) is an important and interesting seaport town at the mouth of the Guadalquivir. It was taken from the Moors in 1264 and occupied a prominent position during the 15th and 16th centuries. Columbus sailed from this point in 1498 on his third voyage to the New World. Lope makes Sanlúcar the scene of part of his _Nuevo Mundo descubierto por Cristóbal Colón_ and mentions it in a number of his other plays. 198. =Le respondí=, etc. Don Bernardo’s reply was intended to reveal delicately to the lover that his suit was not favored by the Duke. 228. =Aquí su mano soberbia...= For an analogous situation compare Guillen de Castro’s _las Mocedades del Cid_ and its French counterpart, Corneille’s _le Cid_. 231. =que tantas veces=, etc., _because an insult is renewed as many times as he who receives it tells it to him who ignores it_. 236. =con cinco letras=, that is, the five fingers of the hand which had

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left its imprint on his face. 245. =á el afrentado=. Not a little laxity in the observance of the rule for the contraction of the preposition and the definite article is to be noted throughout the play. 252. It is to be observed in a number of instances in the text that the initial exclamation and interrogation marks are often omitted before exclamations and interrogations if they follow other similar constructions. 301. =si sois servido=, _if you please_. 310. =La decid.= Modern usage generally requires the object after the imperative in such a case as this, but the license may occur in poetry. 324. =Desta==_De esta_. 337. =quien.= Translate in the plural. Concerning this doubtful usage we have the following from one of the best known modern authorities: "En el siglo XIV caía ya en desuso _qui_, por inútil duplicado de _quien_; éste en el siglo XVI se creó un plural: _quienes_, que aunque calificado de inelegante por Ambrosio de Salazar en 1622, se generalizó, si bien aun hoy día se dice alguna vez ’los pocos ó muchos de _quien_ ha tenido que valerse.’" (Menéndez Pidal, _Manual elemental de gramática histórica española_, p. 176.) 354. =Y sobre seguro, fácil=, _And besides sure, easy._ The assonance of final unaccented _i_ with final unaccented _e_ is permissible. 362. =Quien supo=, etc., _If anyone could determine to be yours there can be nothing to put off your pleasure._ 409. =¿Hay tal gracia de monjil?= _Is there anything so graceful in widow’s weeds? monjil_, "mourning garments." 413. =sugeto==_sujeto_. 441. =el río.= The Manzanares, a stream which rises in the Sierra de Guadarrama and flows by Madrid, emptying into the Jarama, which in turn flows into the Tajo a short distance east of Toledo. In the eyes of the _madrileños_ this stream assumes importance which its size scarcely merits. Its banks have been the scene of festivities from the early days of the city to the present time. In the time of Lope de Vega the banks of the Manzanares and its dry bed were, as a place for promenading, in the same class as the Prado, the Plaza Mayor and the Calle Mayor, and during the great heat of summer the populace of all classes sought refuge here. Lope makes frequent reference to the stream in many of his works. 477. =Muriósele á una casada=, _A woman’s husband died._ 482. =Y sin que=, etc., _And without fulfilling the obsequies_ (_as requested_). _Manda_, lit., "legacy, bequest"; but _cumplir la manda_, "to observe the religious rites (according to the will of the deceased)." 484. =vertiendo poleo=, _putting on airs_. _Poleo_, "strutting gait, pompous style." 485. =reverendo coche=, _elegant carriage_. _Reverendo_, lit., "worthy of reverence," but here fam., "worthy of a prelate." Many of the higher clergy formerly lived in princely style. 499. =Porque no vuelva el marido=, _Lest the husband might return._ 519. =variar=, in Zerolo’s edition, is _varïar_, as it should be in order to fill out the verse.

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521. =De mi condición=, etc. An interesting parallel to the idea of this passage is found in the following from Voltaire: "Il m’a toujours paru évident que le violent Achille, l’épée nue, et ne se battant point, vingt héros dans la même attitude comme des personnages de tapisserie, Agamemnon, roi des rois, n’imposant à personnes, immobile dans le tumulte, formeraient un spectacle assez semblable au cercle de la reine en cire colorée par Benoît." ("Art dramatique" in the _Dictionnaire Philosophique_.) 522. =Que me pudren=, etc., _That paintings vex me._ Note peculiar sense of pudrir. 529. =Susana.= In the thirteenth chapter of Daniel is narrated the story of Susanna, the beautiful wife of Joachim, of whom two old men, judges during the Babylonian captivity, were enamored. They surprised her one day in her bath in the garden and, because she repelled their advances, testified that they had found her with a young man. She was condemned to death, but on the way to her execution Daniel intervened and by a clever ruse succeeded in convicting the two old men of bearing false witness. They were put to death and the innocence of Susanna proclaimed. The story has furnished a theme for many painters and from it many notable works have been produced, of which several existed in the time of Lope de Vega. In the _Obras Sueltas_, vol. IV, p. 450, there is a sonnet, _Á una Tabla de Susana_, which begins: Tu Si La La

que la tabla de Susana miras, del retrato la verdad ignoras, historia santa justamente adoras, retratada injustamente admiras.

541. =Como visto=, etc., _If she had not seen you an excuse would be easy to find._ 545. =Llama.= From this word it would seem that this part of the play is enacted in front of the house of doña Ana. 547. =No lo echemos á perder=, _Let us not spoil it._ 576. =No me tengo de sentar=, _I must not sit down._ Cf. v. 58 and note. 587. =comenzamos... jugadores=, _we begin by a ’rifa,’ which results, as in a love-affair, that it is the third party who starts the game or at least arouses the interest of the players_. The word _rifa_ is usually used in the sense of the English word "raffle" or "auction," as for example the _baile de rifa_ narrated in Alarcón’s _El Niño de la Bola_, but Lope seems to use it here referring to a game of cards. It is used as a term at cards in Portuguese. The same word from another source means a "quarrel"; the author evidently had them both in mind and makes a play upon them. 595. =Terciando mi primo el juego=, _My cousin being the third party in the game._ 634. =Puesto que fué de mayor=, _Since it was by one who had attained his majority._ 638. =Que encaje el marfil ansí=, _Who is as clever. Encajar el marfil_, "to manipulate, falsify." A possible proverbial reference to the corruption among government department employees of the time. 655. =Si fuere parte á obligaros=, _If it will be sufficient to oblige you._ 664. =Cayó el pez en el anzuelo=, _The fish has been hooked._ 666. =aquesto==_esto_. The old form is used now only in poetry.

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695. =efeto==_efecto_. 699. =Cuando él... sido=, _If he should have favored me my favor would have been so_ (i.e. too great). 714. =quisistes==_quisisteis_. The obsolete form continued in general usage up to the 17th century and was still used by Calderón, though a grammar gave the modern form as early as 1555. See Menéndez Pidal’s _Manual elemental de gramática histórica española_, pp. 189, 190. 745. =Adamuz= is a town of about five thousand inhabitants, situated in the mountains twenty-five miles northeast of Cordova in the midst of a prosperous olive-growing country. It has a church, three schools, two inns, an Ayuntamiento and two religious communities. There is a local tradition to the effect that Adamuz, several centuries ago, boasted of a population of about twenty thousand and was one of the important centers of the Sierra Morena, and that it was swept by an epidemic which carried away almost the entire population. However, nothing exists in the archives of the Ayuntamiento to confirm or deny the tradition. (For all the information concerning the town and its vicinity, the editor is indebted to the kindness of the Reverend Señor José Melendo, curate of Adamuz.) 748. =Adamuz, pueblo sin luz.= This refrain is not now current in the place and its origin cannot be definitely determined. It may be a reflection upon the state of intelligence of the inhabitants of the town and a pure creation of the poet, but rather would it seem to be due to the natural features of the town, for it is situated in a fold of the mountains. 750. =Sierra-Morena= from the head waters mentioned in many of as the scene of some Quijote.

is a mountainous region extending from east to west of the Guadalquivir to the Portuguese border. It is the Spanish romances and is assured of immortality of the adventures of the "ingenioso hidalgo" Don

768. =El término perdonad.= The innkeeper regarded the _indiano_ as a person of distinction and offers apology for mentioning in his presence anything so lowly as a _caballo de alabarda_, "nag, hack." 770. =propria==_propia_. 793. =camino real.= A good road now extends from Cordova to Adamuz, but it does not cross the Sierra Morena. If such a royal highway from Andalusia to Madrid ever existed it has long since disappeared and given place to the railways and the important "carretera" which extends up the Guadalquivir and through the Puerto de Despeñaperros. 813. =Bien está lo hecho=, _What is done is well done._ 824. =Holofernes... Judit.= The comparison suggested is based upon the story related in the Book of Judith of the Bible. Judith determined to free the children of Israel from the invading Assyrians under the leadership of Holofernes and for this purpose went to the camp of Holofernes who received her kindly and celebrated her coming with feasting. When he was sufficiently under the influence of wine she cut off his head and carried it back with her to her own people who pursued the leaderless and disorganized Assyrians and gained a complete victory over them. 835. =érades==_erais_. This obsolete form of the verb was often used by Lope de Vega and his contemporaries. It is from the Latin _eratis_. (See Menéndez Pidal, _Manual elemental de gramática histórica española_, paragraph 107, I.) 838. =Granada=, the most historic city of Southern Spain and the last stronghold of the Moors.

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868. =El camino de Granada=, etc. The more probable route from Granada to the capital would have taken her some distance east of Adamuz. 876. =Traigo jornada más larga=, _I am making a longer journey._ Besides its common meanings _traer_ has that of "to be occupied in making, to have on one’s hands." _Jornada_ usually means "day’s journey," cf. French _étape_, but it is also used in the sense of a "journey" more or less long. 877. =vengo de las Indias.= Hence the name "Indiano," which may mean that one is a native of the Indies or simply a Spaniard who is returning from there after having made his fortune. The term has a depreciative meaning also, and then is an equivalent of our _nouveaux riches_, for which we in turn are indebted to the French. (See Introduction.) 882. =Porque me dicen=, etc., _Because they tell me that the realization of one’s pretensions which one’s occupation puts off, is slow in arriving, I am going to set up a household._

ACT II 917. =Que tantas persecuciones=, etc. Supply some introductory interrogative expression like "Can it be" or "Do you believe." 922. =De Amadís, en Beltenebros.= _Amadís de Gaula_ is the title of an old romance of uncertain authorship. The oldest text of which we have record was in Spanish or Portuguese prose, and the most interesting part of it is attributed to the Portuguese, Joham de Lobeira. The incident referred to by Lope occurred in the early years of the career of Amadís, hero of the story. After a youth filled with adventure, he meets and falls in love with Oriana, daughter of Lisuarte, king of Great Britain, who returns his affection. A short time afterwards Amadís is freed from a perilous situation by a young girl named Briolania, who herself is suffering captivity. He then promises to return and deliver her. Having been successful in a number of other adventures, he sets out, with the tearful consent of Oriana, to rescue Briolania. After his departure on this mission, Oriana is erroneously informed that Amadís loves Briolania; mad with anger and despair, she sends him a letter saying that all is ended between them. Amadís, having avenged Briolania’s wrongs, receives Oriana’s letter and, overcome by grief, retires to a hermitage on a rock in the sea, where he receives the name of Beltenebros, which Southey translates as the "Fair Forlorn." Afterwards Oriana, undeceived, seeks a reconciliation with Amadís, and their happiness is at length realized. Amadís has remained the type of the constant lover who comes into the possession of the object of his affections only after adventures and difficulties without number. 951. =Valencia= is an important seaport town on the Mediterranean with a population of about 160,000. The city is picturesquely situated on the banks of the Guadalaviar in the midst of a luxuriant tropical nature. Valencia was formerly the capital of a kingdom of the same name and has played an important rôle in Spanish history since the time when the Romans occupied the peninsula. During the Moorish occupation it was a worthy rival of Seville, with which it is here mentioned. The gardens of Valencia have always been justly celebrated for their beauty, and Lope well knew this, for during his exile in Valencia he himself had a garden in which, as he tells us in several of his works, he passed many pleasant hours. 954. =Vera de Plasencia= is a small town northwest of Zaragoza, situated in the desolate Llano de Plasencia. Lope must have sojourned there at some time or have had more than a passing interest in the place, for in his _Epístola á D. Michael de Solis_ he writes: Si fuera por la Vera de Plasencia Á buscar primavera al jardín mío, Hallara tu Leonor en competencia.

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_Obras Sueltas_, vol. I, p. 268. 960. =Pues lo digo=, etc. In the Valencia edition Martin says: Quando lo digo lo sé. Tres puntos del que los vé Que no son puntos de vara: Puntos, que puedo decir, Según en su condición, Que tres en un punto son: Ver, desear, y morir. The sense of the passage seems to turn on the words _punto_ and _cara_. A _punto_ or "point" is one twelfth of the antiquated French line and one one hundred and forty-fourth of an inch. By a comparison of the two editions it is clear that there is a play on this word. _Cara_ is probably a typographical error for _vara_, but it may be used here in a related sense to the archaic _á primera cara_, which was the equivalent of _á primera vista_. Therefore the sense of ll. 961-2 is: "That is the size that one would take of that foot with a measure," or "That is the size that one would take by a glimpse of that foot." 971. =De escarpines presumí=, etc. The consonance of _escarpines_ is with _jazmines_, but the contrast is with _chapines_ above. The _chapín_ was a heavy low shoe or sandal better suited to the use of servants, while the _escarpín_ was an elegant thin-soled, shoe or slipper, and often with cloth top as the following verse seems to indicate. Here the sense is not very apparent and may involve some colloquialism of the time. The passage may be freely translated: "I thought you were speaking of _escarpines_, since the distinction depends only upon (the height of) the cotton (top)." 973. =paragambas.= An obsolete or colloquial word made up of the preposition _para_, or possibly of a form of the verb _parar_, "parry off, protect," and the obsolete substantive _gamba_, the equivalent of _pierna_. It was evidently applied to some covering of the leg, as a gaiter or boot. In the Valencia edition it appears as two words, _para gambas_. 974. =á cierta dama= depends upon _pregunté_. 975. =cañafístolas==_cañafístulas_. The word seems to have the idea of something indicated but not named, and here may have the sense of "ridiculous adornments." It is still used colloquially as the approximate equivalent of the English "thingumajig" or "thingumbob." That the author intends it to have something of its true meaning, "purgative," is indicated by the next few lines of the text. 1009. =fialle=, see v. 95 and note. 1038. =azules enojos=, _dark clouds_. Lit. "blue wrath." 1042. =á cuantos los miran=. _Los_ refers to _ojos_ mentioned above. The period at the end of the line must be a typographical error, for the sense seems to favor a comma. The two subordinate clauses introduced by _si_ and connected by y do not require as much separation as is afforded by a period. 1052. =Como quedó concertado.= Note the repetition of line 1000. Lope is given to repetitions in his works, but this is perhaps the only verse in the play which he has unconsciously repeated. 1062. =inglés á Cádiz.= "Año de 1625." (Note by Hartzenbusch.) The incident referred to is the irrational attack upon Cadiz by the English fleet under Sir Edward Cecil in October, 1625. The English were ignominiously defeated and the Spanish encouraged to continue an unequal struggle.

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1066. =tusón dorado.= The name of a celebrated order of knighthood founded in 1429 by Philip the Good, Duke of Burgundy and the Netherlands. It originally consisted of thirty-one knights and was self-perpetuating, but Philip II absorbed the nominating power. In 1713 Charles VI moved the order to Vienna, but this action was contested by the Spanish and the dispute was settled by dividing the order between the two countries. 1067. =Con débil caña=, etc. "En la edición antigua de la comedia: _Con débil caña, con freno herrado._" (Note by Hartzenbusch.) 1068. =Marte... Cupido=, _Mars_, the god of war, _Cupid_, the god of love. 1076. =Sembrando.= "En la _Corona trágica_ se lee _sembrando_; en la edición antigua de la comedia, _tendidas_."(Note by Hartzenbusch.) The sonnet is found also in the _Obras Sueltas_, vol. IV, p. 500, under the title, _Á la Venida de los Ingleses á Cádiz_. Hartzenbusch speaks of it as though it appeared in the _Corona trágica_, but his note is misleading, for it really is found in a collection of _Poesías varias_ in the volume stated which begins with the _Corona trágica_. 1086. =Mas qué os=, etc. More exact punctuation would place the initial interrogation after _mas_ and before _qué_. 1089. =Filis.= In Greek mythology Phyllis, disappointed because her lover, Demophon, did not return at the time appointed for their marriage, put an end to her life. According to one account she was changed after death into an almond-tree without leaves. But when Demophon, on his return, embraced the tree, it put forth leaves, so much was it affected by the presence of the lover. To the mythological Phyllis, however, Lope is indebted only for the name. To him "Filis" was a more material being in the person of Elena Osorio, daughter of a theatrical manager and a married woman. During the early part of the period 1585-1590 he dedicated to her some of his most beautiful love-ballads, and in the latter part, when he turned against her and was exiled from Madrid and Castile, he continued to address poems to her, but now filled with bitter complaints. (See Introduction.) The fact that he mentions her name here in a play written in the later years of his life is of interest; either he wrote the sonnet in his earlier years and used it here, or it would seem that the poet’s mind reverts to his youthful follies. But in one of the last works written just before his death Lope speaks of his daughter, Antonia Clara, under the name of "Filis," which has given rise to some confusion. "Phyllis," moreover, is a very common name in pastoral poems in the 16th and 17th centuries. 1110. =devantal==_delantal_. 1126. =hubiérades... Dijérades==_hubierais... Dijerais_. Cf. v. 835 and note. 1133. =Si es disfrazar=, etc. In the pastorals the author usually disguised personages of distinction in the garb of shepherds and shepherdesses. These compositions were very popular in Spain during the sixteenth and early seventeenth centuries. 1145. =que viene... á pretender=, _who comes to court to make pretensions_. _Pretender_ also means "to sue for place, seek position" and might be here "to seek favor at court." 1153. =En él este amor bebí.= Here as well as in the following line _él_ refers to _cántaro_. 1155. =Sirena.= The Sirens were fabulous mythological monsters, half bird and half woman, which were supposed to inhabit reefs near the island of Capri and lure sailors to their death by the sweetness of their song. 1186. =que tiene razón=, _indeed she is quite right_. Zerolo’s edition has _que_ instead of _qué_ of the Hartzenbusch edition, and it is clearly

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the author’s intent. 1231. =Por servicios que me hiciese=, etc., _Whatever services he did me, however many years he put me under obligation._ 1237-40. Observe that one of these verses concludes each of the following stanzas or _décimas_. Such a verse is called the _pie de décima_. 1252. =Andalucía= forms one of the most important and romantic of Spain’s ancient divisions and still occupies a unique position in the life and character of the Spanish people. Geographically it occupies almost the whole of the south of Spain. 1262. =dorado=, a yellow flower. 1266. =Manutisa= is usually written _minutisa_. 1282. =Adónde bueno==_Qué tal._ There is also a sense of motion as indicated by verse 1284, but it is difficult to give a concise translation. Freely expressed we may offer: "Whither bound, my pretty maid?" 1291. =Pero... admira=, _But on my word I am astonished._ 1300. =No tengo por mal acuerdo requebrar=, etc., _I do not consider it ill-advised to enumerate_, etc. _Requebrar_ usually means "to flatter," but it also means "to break in small pieces," hence "to give in detail" or "to enumerate." 1303. =Os costará=, etc. The sense of the verb is plural unless we take it as impersonal and supply an infinitive construction after it. 1305. =Para el río.= This expression is out of its natural order and might well be set off by commas. The sense is: "A hat with its band for going to the river." 1306. =Avantal==_delantal_. Cf. v. 1110 and note. 1307. =virillas.= In addition to its usual meaning, _vira_, or _virilla_, is used to denote the border around the top of the shoe, which is its meaning in the present instance. 1314. =No hay plata... Potosí.= Potosí is a city of Bolivia situated on the Cerro de Potosí at an altitude of thirteen thousand feet. The Cerro de Potosí is said to have produced up to the present time over three billion dollars in silver. The first mine was opened there in 1545, and the year of Lope’s birth, 1562, a royal mint was established in the city of Potosí to coin the output of the mines. Small wonder is it then that the Spaniards still refer to the city in proverb as a synonym for great riches. Lope mentions it in several of his other dramas. 1324. Compare this speech of doña María with that of Areusa in the _Celestina_ against the exacting duties of servants. (See _Biblioteca de Autores Españoles_, vol. III, p. 43.) 1341. =de mañana=, _early in the morning_. 1349. =Bien aforrada razón=, etc. In this reply of doña María we see not a little of the _précieux_ spirit which in the same century became so popular in France. A man must not proceed "brutally" to a declaration of love at the very beginning, but by interminable flatteries and conceits lead up to such a declaration, and even then must not expect the object of his devotion to yield at once to his cleverly conceived pleadings. 1404. =cristal deshecho= refers to the running water of the fountain. 1410. =henchirle.= The antecedent of _le_ is _cántaro_.

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1417. =Ó asoma por el estribo=, etc., _Or shows through the doorway of the carriage her curls on the hooks of a ’rest.’_ In modern usage when applied to the parts of a carriage _estribo_ means the "step" but in the text it is used apparently as the equivalent of _portezuela_. _Descanso_ seems to have been at the time a device used in women’s head-dress, such as was represented some years later by Velázquez in his famous portrait of Mariana de Austria, which now hangs in the Prado Museum at Madrid. 1439. =Conténtese ó quitaréle.= Observe the change from the second person to the third in this verse and the following one. 1455. =¿Qué se hizo tu desdén?= _What has become of your pride?_ 1460. =Habrán hecho riza en ti=, _Have probably done you a great injury. Hacer riza_, "to cause disaster or slaughter." 1477. =si no envidaste=, etc., _if you have not staked any money, lay down your hand and remain apart_. Leonor applies here the terms of a game of cards when speaking of the love-affairs of doña María. 1493. =No pone codo en la puente=, etc., a reference to the custom of the idlers and braggarts lounging in public places and seeking trouble or offering defiance to every passer-by. 1495. =los lavaderos.= The banks of the Manzanares immediately in the rear of the Royal Palace have long been the public _lavaderos_ or washing-places of the city of Madrid, and every day acres of network of lines are covered with drying linen. It is here naturally that the gallants of the lower classes go to meet their sweethearts, and scenes such as we have portrayed later in the play are of frequent occurrence. Cf. note on verse 441. 1510. =Prado=, formerly, as its name implies, a meadow on the outskirts of Madrid and later converted into a magnificent _paseo_ between the Buen Retiro palace and the city proper. The house of Lope de Vega still stands in the narrow Calle de Cervantes, a short distance from the Prado, and the poet often mentions this celebrated _paseo_ in his works. The name is frequently used to refer to the famous art-gallery located there. 1520. =quien=, cf. 1. 337 and note. 1527-8. =Aprended... hoy.= Note the repetition of 11. 1237-8. 1543. =Durandartes.= In Spanish ballads Durandarte is the name of one of the twelve peers who fought with Roland at Roncesvalles. In the _Romancero General_ the adventures and death of the knight are narrated. Steadfast to death in his affections for his beloved Belerma, he gives utterance to his lamentations in the famous old ballad beginning with the following lines: ¡O Belerma! ¡O Belerma! Por mi mal fuiste engendrada, Que siete años te serví Sin de ti alcanzar nada; Agora que me querías Muero yo en esta batalla. Durandarte was the cousin of the knight Montesinos who gave his name to the celebrated cave of la Mancha, visited by don Quijote, whose adventures in this connection are narrated in _Don Quijote_, Part II, Chapters XXII and XXIII. Cervantes calls Durandarte the "flor y espejo de los caballeros enamorados" and probably Lope is indebted to his great contemporary for the word, which he uses in the sense of _lances de amor_. 1552. =Puesto que=, etc. The Valencia edition has here instead of this

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verse: _Con todo, no he de culpalle._ 1608. =de espacio==_despacio_. 1649. =Don Fadrique de Toledo=, son of the Duke of Alba and descendant of the great soldier, Alba, was one of Spain’s greatest naval commanders. In 1625 he destroyed the Dutch fleet off Gibraltar. Writing this play, as he may have been, with the acclamations of the great victory ringing in his ears, it was quite natural that Lope should honor the hero in his drama and at the same time add to the popularity of his work. Later in 1634 don Fadrique de Toledo fell into disfavor or incurred the jealousy of the Count-Duke Olivares and was cast into prison. 1668. =rocín gallego.= The _gallegos_, or inhabitants of Galicia, are a sober, industrious people, but have throughout Spain a reputation for ignorance and stupidity; so they have long been made the butt of malicious gibes and jests by their more volatile fellow-countrymen. In the Valencia edition this verse and the preceding one are rendered in a manner to give a clearer meaning: En la coz y mordiscón Parece rocín gallego. 1681. =Es... vaya=, _Is all that to tease me?_ 1696. =diera= is used here in the double sense of "give" and "strike." 1708. =cristal de Venecia.= Early in the middle ages Venice was a center for the manufacture of glass. The industry was at its height in the 15th and 16th centuries, but gradually declined until it ceased in the 18th, only to be revived about the middle of the 19th century. Since then Venice has retaken her position as the European center for artistic creations in glass. Near the close of the 13th century the factories were moved outside the city to the island of Murano, where they are at the present time. 1714. =Si no=, etc., _If not in harm, in the realization._--=Caer en la cuenta=, _to understand, realize_. 1723. =satisfaciones= is now written _satisfacciones_. 1733-4. The language of these two verses is drawn from the popular proverbs: "Tantas veces va el cántaro á la fuente, alguna se quiebra," and "Tantas veces va el cántaro á la fuente, que deja el asa ó la frente." Doña María uses parts of each of these forms. 1737. =volviérades==_volvierais_. See v. 835 and note. 1782. =de canela=, that is, _agua de canela_. 1785. =Don Alvaro de Luna=, a Spanish courtier, born about 1388, was, in his youth, a page at the court of John II, whose favor he later enjoyed to a high degree. He was made Constable of Castile in 1423 and a few years later grand master of the order of Santiago--a double distinction never enjoyed by any other man. He afterwards fell a victim of a conspiracy of the Spanish feudal grandees and was executed at Valladolid in 1453. His life and achievements became a popular theme for Spanish authors, and doubtless much of interest written concerning him has been lost. The _romances_ relating to don Alvaro de Luna which have come down to us concern his fall and execution, and some of them are favorites of beggars who sing in the streets of Spanish cities. It is evidently to a _romancero_ or collection of these poems that reference is made by Lope. 1817. =el Cid.= Rodrigo Ruy Diaz de Bivar (1040-1099), called "el Cid Campeador," is the great national hero of Spain. From the numerous accounts, real and fictitious, of his achievements we learn that he was a great warrior who fought sometimes with the Moors, sometimes with the Spaniards, and that at last as a soldier of fortune he seized Valencia

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and until his death successfully defied the two great rivals of his time, the Spaniards and the Moors. His life has served as a theme for numerous literary masterpieces, especially the Old Spanish _Cantar de mio Cid_. Lope de Vega treats of his fall in his play entitled el _Milagro por los Celos_. 1818. =gigote==_jigote_. 1824. =Valladolid=, an interesting city of Northern Spain and the seat of an important university. Valladolid has figured prominently in Spanish history for many centuries, for it was long the favorite residence of the Spanish sovereigns. Early in the reign of Philip III the seat of government was again transferred to that city, but was returned to Madrid in 1606. 1836. =si le come=, _if he likes it_. _Comer_, lit. "to eat."

ACT III 1837. =No haya más=, _Let that be the end of it._ 1844. =No lo acabes de decir=, _Don’t go any farther._ 1854. =Llegue el lacayo gallina=, _Let the chicken-hearted lackey come on._ 1858. =mohadas==_mojadas_, coll., _knife-thrusts_. 1863. =Pues con él haberlas quiero=, _Well I am willing to have it out with him._ 1901. =dueño= is regularly used in its present sense when referring to a woman as well as to a man. The feminine _dueña_ has the same meaning, but more commonly means _house-keeper_ or _chaperon_. 1911. =mesmo==_mismo_. 1920. Cf. v. 1495 and note. 1929. =Tocó... el instrumento=, etc. The reference is evidently to the _bandurría_ which in its ancient form was a very popular musical instrument for such occasions as the one here described. Compare the description of it with its direct descendant, the modern banjo. 1951. =Casa del Campo=, commonly written _Casa de Campo_, is a large royal park immediately in the rear of the royal palace and grounds and on the other side of the Manzanares, which is here spanned by the Puente del Rey. 1960. =Felipe y Isabel=, that is, Philip IV of Spain and his first wife, Isabel de Bourbon, daughter of Henry IV, king of France. (See Introduction.) Observe that modern Spanish would require "Felipe e Isabel." 1963. =las colores.= _Color_ is now almost limited in usage to the masculine, but Lope, like other authors of the 16th and 17th centuries, used it indifferently in the masculine and in the feminine. 2003. =pecho=, _courage_. 2044. =labrar=, _embroider_. 2109. =que antes ha sido=, etc., _for rather has it been so that I cannot see her_. 2131. =Porque ha mucho que no soy=, _Because I have not been there for a long time._ There is perhaps a play upon _ser_, "to exist" in this

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verse. 2146. =Que más de cuatro manteos=, etc., _That more than a few_ (lit. "four") _of those mantles of yours with fabrics of gold cover many defects._ 2164. =aceto==_acepto_. 2172. =en pelo=, _bareback_. With mock respect doña María asks pardon for using in the presence of people well-bred a term as commonplace as _en pelo_. Cf. v. 769 and note. 2217. =Alcance=, the present subjunctive with the conjunction _que_ omitted. 2236. =De cántaro la tenía==_Tenía el alma de cántaro. Alma de cántaro_ is a colloquial term nearly equivalent to our "harebrained fellow." 2238. =proverbio=, that is, the proverbial use of _cántaro_ in the expression _alma de cántaro_. 2282. =Atlante=, a name usually applied to masculine figures in Greek architecture, which, like the female caryatides, take the place of columns. The reference here seems to be to the mythological Atlas, from which word we have the architectural term _Atlante_. The author used it in the same sense in one of his sonnets: /*[3] Igualará la pluma á la grandeza, Y el Parnaso de vos favorecido Tendrá en su frente el cielo como Atlante. _Obras Sueltas_, vol. IV, p. 277. */ But Lope knew it in its more exact architectural sense and apparently uses it so in the following lines: /*[3] Y otras del reino importantes, Que siendo en ellos atlantes, Serán rayos de Archidona. _La Estrella de Sevilla_, Act I, Scene IV. */ 2315. =Tened.= Note the change from the less formal second person singular as soon as don Juan suspects doña María to be above the servant class. 2342. In Zerolo’s edition there is a comma at the end of this verse instead of a period, which is clearly the more correct punctuation. 2347. =Vos salisteis diferente=, _Your origin has been different._ 2349. =Y yo sin dicha==_Y yo salí sin dicha_. 2360 and ff. Compare the similar sentiment expressed by the author in _el Cuerdo en su casa_, Act II, Scene XXIV: /*[3] El que nació para humilde, Mal puede ser caballero. * * * Haya quien are y quien cave; Siempre el vaso al licor sabe. */

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2399. =Que darme yo á entender=, _For me to assume_. 2420. =por armas=, _as a coat of arms_. 2422. In the Valencia edition this passage is identical except that it continues through one more _octava_. 2438. =Vinculadas en lacayos=, _Handed down from lackey to lackey. Vincular_, "to entail, continue, perpetuate." 2440. =Aunque poca me ha cabido=, _Although little has fallen to my share._ 2444. =Mondoñedo=, a town in Galicia, northeast of Lugo, with a population of about 12,000. This region has been particularly prolific in noble houses and among them is that of Lope de Vega. He mentions the fact in _el Premio de bien hablar_, when he makes don Juan say: /*[3] Nací en Madrid, aunque son En Galicia los solares De mi nacimiento noble, De mis abuelos y padres. Para noble nacimiento Hay en España tres partes: Galicia, Vizcaya, Asturias, Ó ya montañas se llamen.-*/ 2446. =Volver la silla á el dosel=, _Conduct himself better on occasions of ceremony._ The origin of the expression is explained in the following note in the London edition of the play: "Alude á la costumbre de estar en los actos públicos la silla del rey vuelta hacia el dosel siempre que S. M. no la ocupa. Así se mantuvo la silla real en las Cortes Extraordinarias de Cádiz y Madrid todo el tiempo que Fernando VII estuvo preso en Francia." 2452. =Aunque pide=, etc., _Although the sack of salt requires greater fortune._ A probable reference to the high cost of living and particularly to the high price of salt, of which Olivares made a government monopoly in 1631, the year previous to the revision or appearance of the play. 2468. =Que no hay hueso que dejar=, _For nothing must be omitted._ Lit. "For not a bone must be left out". 2534. =Que á saber=, _For if I had known._ 2539. =Aunque á Alejandro=, etc. Apelles was a famous Greek painter in the time of Philip and Alexander. His renown may be imagined, since the three cities, Colophon, Ephesus and Cos, claimed to be his birthplace. He spent, however, the greater part of his life in the Macedonian court, where he was very popular. Many anecdotes were told of Alexander and Apelles which show the intimate relations of the two and among which is the one referred to in the text. Apelles had painted Campaspe, also called Pancaste, the favorite of Alexander, undraped, and had fallen in love with her. The generous monarch learning of it yielded her up to the painter. This picture is said to have been the famous Venus Anadyomene. At the time of the first representation of the play, the author must have had Apelles fresh in mind, for about that date he cites another anecdote of the painter in his dedication of _Amor secreto hasta Zelos_, and mentions him several times in miscellaneous verse of the period. 2549-50. =que no soy tan del Conde=, _I do not belong so much to the Count._ 2559-61. These three lines are disconnected and are not adjusted either

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to the rime scheme of the preceding verses or to that of the following. They may be part of a popular song of the day. 2561. =juegan cañas.= Cane tourneys were modern adaptations of the medieval tilts or jousts, in which the contestants were mounted on horseback but armed only with reeds. The contests were made up of several features which permitted the participants to exhibit their skill in horsemanship. They were popular in the first part of the reign of Philip IV, for the king encouraged them and even took part in them himself. 2562. =¡Mala letra para novios!= The reference finds its full expression in a rime of coarse sentiment which recounts the immediate fortunes attending the _novio_ who dreams of bulls. 2567. =Dos meses.= Cf. v. 2146 and note. 2641. =¡Vive Dios, que si... bajeza!= _By heavens, if this be true I shall kill you rather than permit such a disgrace._ 2679. =por andar encubierta=, _in order to remain in disguise_. 2685. =á escuras==_á oscuras_. 2691. Compare this with the following lines from the _Égloga á Claudio_: /*[3] _Mil y quinientas fabulas_ admira, Que la mayor el numero parece, Verdad que desmerece Por parecer mentira, Pues más de ciento en horas veintiquatro Passaron de las Musas al Teatro. _Obras Sueltas_, vol. IX, p. 368. */

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